Kira Lynn Harris
Page 1 | 2 | Biography
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96 Degrees in th Shade, 2000, installation
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96 Degrees in the Shade, a site-specific installation created at Smack Mellon Studios in Brooklyn during the summer of 2000.
"In the corner of an abandoned spice factory, Harris transformed the space, creating a phenomenological encounter. Taking advantage of a staircase leading to nowhere and the track lights and skylight above, Harris covered individual steps with one of her favorite materials, silver mylar. The reflection of artificial and natural light onto the mylar evoked an illusion of wavering flames and heat against the white brick wall of the factory corresponding to the title of her piece 96 Degrees in the Shade (2000)."
Susette Min, essay for Freestyle, 2001
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White Pines, Bedroom, 3, 2005
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The photographs are not simply self-referential; these spaces stand for lives lived long ago, for the passage of time. It is this aspect, that of memory, as well as their transcendent light, that connects them to a Romantic framework, but it is their compositional spareness that pulls them directly back to the present.
Transcendent Images
Susan Isaacs, 2005
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Eight variations within a structure, 2, 2006
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Dome, 1, 2005
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Interstices, 2005
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"While the emphasis on light and its ability to trigger emotion and mood are at the core of her endeavor, Harris’ perception-altering installation work forced us to reconsider our bodies in space and within ‘the hidden structures of art.’ Continuing the focus on our perceptions, desires and curiosities for the world around us, Harris’ newest work, while becoming more representational in their rendering of the phenomenological aspects of light and space, is also perhaps her most direct route to explore her essential interests. In these new photographs, light is no longer abstracted to a minimalist mass but drawn out in a way that provides the viewer with a direct gaze into a compositional space full of wonder and unspoken narratives."
From Between Light and a (Strange) Place
by Franklin Sirmans, 2005
Essay for "Eva Slept Here", solo exhibit at Bruno Marina Gallery, Brooklyn, NY
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Exploding figurative representation with a language of abstraction, Harris disrupts then amplifies individual perception of space, depth, color, and light. Each of Harris’ works included here is about New York as a series of spatial, aural, and emotional encounters, both public and private.
Bright Lights, Big City
Eungie Joo, 2002
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Looking West from Metro North, 125th St, 2003
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In photography and video I pursue these concerns (light, space, perception) by capturing fleeting moments of natural as well as artificial light and color. I use abstraction, rather than strict representation, aiming for a de-stabilizing of images and, by extension, the certainties of the viewers of those images.
My watercolor drawings depict or explore real and imagined architectural spaces and my own installations, as well as grids and other imposed systemic structures.
From artist's statement, 2006
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