Dominic Harris (London, 1976) is an artist who uses technology to construct highly personal interpretations of the natural phenomena which surround us.

His reverence for nature, coupled with his fascination for code, offers a surreal and whimsical take on reality, which ultimately challenges our own perceptions of the world about us. His responses, aesthetic yet playful, conceal a carefully-observed commentary on the digitisation of our daily experiences, which plays both upon our emotions, and our relationship with the technology-fuelled 21st century Pop Culture.

As these technologies, unstoppable and fascinating, invade our lives, and intrude upon us in ever more intimate ways, Dominic Harris captures the sometimes-menacing march of the information age turning it to our advantage in an insightful and seamless blending of nature with code. Dominic Harris is part of a small, and important, coterie of artists who are pushing the envelope of feasibility and redefining what is acceptable within the art world.

In the foreword to Harris's solo exhibition "Imagine" at the Halcyon Gallery, curator Sunny Cheung writes, 'a thread of existentialism exists in Dominic Harris' work, a certain preoccupation with flowers, petals, butterflies, and a fascination with metamorphosis and transformative experiences'. This is echoed throughout Harris' practice as 'recurring elements and motifs' shed light on his close relationship with the natural world and its ability to be intertwined with the performative and immersive persona of the digital phenomena which has firmly anchored itself in society today.

Dominic graduated from Cranbrook Kingswood School in Michigan, and returned to England to read Architecture at the Bartlett School, University College, London. He graduated with top distinctions, qualifying as an architect in 2003, and going on to work for the avant-garde architectural practice Future Systems. Since 2007 Dominic has operated from his own studio in Notting Hill, London, where he and his team design, engineer, code and fabricate his artworks and installations.

Dominic Harris creates immersive digital artworks that explore the intersection of nature, imagination, and technology. Recognised as a prominent figure in the field of interactive art, Harris is known for pioneering fully immersive installations that respond dynamically to the presence and behaviour of viewers. His work is defined by a unique fusion of traditional artistic techniques and bespoke digital engineering, resulting in experiences that are both visually poetic and conceptually layered. Curator Sunny Cheung describes Harris’s work as carrying “a thread of existentialism,” shaped by recurring motifs—flowers, petals, butterflies—and a sustained fascination with metamorphosis and transformation.

Dominic Harris creates immersive digital artworks that explore the intersection of nature, imagination, and technology. His practice is defined by a distinctive fusion of traditional artistic craftsmanship with custom-built digital systems, resulting in interactive environments that evolve in response to the viewer’s presence. Curator Sunny Cheung describes Harris’s work as carrying “a thread of existentialism,” shaped by recurring motifs—flowers, petals, butterflies—and a deep fascination with metamorphosis and transformation. These elements reappear throughout his work, not only for their visual poetry but for their capacity to reflect on fragility, renewal, and our place within a rapidly shifting world.

Harris’s recent works continue to expand this conceptual landscape. The Promise of Babylon (2025) presents a dreamlike garden suspended in space—a luminous globe of perpetually blooming flora whose seasons shift at the viewer’s touch, defying the natural decay of time. In Sounds of Liberty (2025), an American flag composed of hand-painted digital butterflies dissolves with each interaction, revealing real-time headlines and media noise beneath its symbolic order. These pieces build upon earlier works such as NeoBloom, in which imagined digital flowers bloom eternally, and Spectrum, a hypnotic arrangement of butterflies in kaleidoscopic formation, disturbed and re-harmonized by the viewer’s gestures.

Another key facet of Harris’s practice is his reimagining of cultural iconography. In his official Snow White and the Seven Dwarfs artwork, created in collaboration with Disney, Harris playfully disrupts the familiar fairytale with unexpected layers of interaction and behaviour. Each character, faithfully rendered yet algorithmically empowered, gains a sense of autonomy—subtly questioning themes of obedience, agency, and narrative control within one of the most recognisable stories in animation history.

Trained as an architect, Harris brings a rigorous material sensibility to his digital creations. Each artwork is meticulously designed and fabricated within his London studio, where a team of engineers, designers, and craftspeople help bring his vision to life. The result is a body of work that invites direct participation—encouraging viewers to move, touch, and reflect—while seamlessly blending aesthetic wonder with conceptual depth. Harris’s art does not merely depict transformation; it offers a space in which to experience it.