Jane Harris: New Painting is an exhibition on view at The Aldrich Contemporary Art Museum from August 21, 2005 until March 12, 2006. The exhibition displays six recent works completed by the artist while on sabbatical from Goldsmiths College. The nature of the work can lend itself toward many modernist painting styles (geometric abstraction, monochrome, op art, Color Field), though the artist is determined to stand distinct from these traditions. The key to decrypting these works is in realizing that these works are only simple on the surface. (Remember that simple does not mean easy. It simply means not complex). A thorough evaluation of Harris and her artwork will reveal an embedded consideration for the position of illumination. The subject of illumination alludes to multiple contexts within an understanding of art. It will help to focus on three distinct significations.

The more technical and scientific definition of illumination refers to the physics of light.

Illumination occurs whenever the luminous flux per unit area at any point on a surface is exposed to light. When an object is made visible it allows a viewer to evaluate according to their capacity to analyze visual stimulation. Every painting has surface texture. The surface texture of a painting allows the viewer to see further into the process behind its creation. The implemented painting technique in the work of Jane Harris emphasizes the surface texture so that the careful and consistent application of paint promotes the importance of brushwork. This texture reveals the portrayed forms as the viewer chooses to see the shapes. In other words, the mark making of each work (particularly the edges of each shape) enables the viewer to view the forms as either advancing or receding. This is nothing new. Op art has incorporated such visual techniques since the 1950’s. The fundamental importance behind this work occurs in how the texture reflects light to the viewer differently dependent on position. That is to say that the viewer will be influenced into seeing the shape as either positive or negative form based upon where they are in relation to the painting. In addition, the source of light in relation to each work will also influence the perspective of the viewer. As opposed to affectively and convincingly depicting the illusion of light, this painting reflects and revolves around the illusion of light. It is significant because through its approach, it unveils a relationship between light and form that has not been incorporated since Byzantine icon painting. This work sheds new light on a modus operandi of painting. This particular method reveals a more dynamic way to paint.



A second understanding of illumination is when there is a clarification or elucidation.

This “New Painting” by Harris reflects an intense outlook through controlled painting. This is visible in the meticulous craft, the color characteristics, and the psychological nature of the work.
Created by hand in one session, this work demands an intense physical discipline. In order to obtain the crisp edges, each layer of paint is applied “wet on wet.” Opposed to painting in separate stints, this paint is applied in an extensive session with each painting having a minimum of five layers. Also, it should be mentioned that the precision of her line curvature references calligraphy. The exacting nature of production is evident of an intense painterly control.
This type of art making is coupled by the artists selection of color. Equally as intense, the majority of colors could be described as synthetic, acidic, or essential. There are only two colors incorporated in each piece. Each pigment is mixed and proportions are recorded should the artist need to recreate a color. Aside from the unique quality of the colors, there is rich association to be found with such color selections. Terms such as strong, rich and pulsating come to mind. It may have to do with the vividly saturated qualities found within the colors. However, the nature of color is that it can resemble many things, which lends towards personally loading. The artist herself mentions a reference to the iridescent, metallic color found in the current trend for opalescent finishes on automobiles. Personally, the color palate is reminiscent of some of Van Gogh’s later works.
The history of painting is also riddled with psychological weight. Within a painting there exists an injected mindset of the artist. In analyzing a work of art, viewers often participate in conjecturing opinions on the ideas perceived in the artwork. This forming of evaluations is often based of off incomplete information. Often, artists themselves are even unable to fully grasp the overarching implications of their manifestations. However, it is important to note that within every piece of art there exists a way of thinking. This way of thinking determines an artist’s behavior and subsequently the production of the art.



There is an engulfing quality (both positive and negative) to these pieces of art. The size of each painting has the ability to surround and permeate a viewer. As stated previously, there is an intense quality to the work. In general, the forms perceived are eloquently depicted shapes that are completely resolved. This resolution exudes an aura that leaves a viewer feeling either completely fulfilled or slightly apprehensive. However, how the viewer sees these forms - as either positive or negative - influences their visual and emotional response.
For example, when a viewer sees the shapes as positive forms, the resolution of these shapes into precise, complete wholes is a rewarding and fulfilling experience. It is encouraging to see a sound relationship with the balanced inclusion of all parts or aspects. So much so, that the work carries an element which is true, striking and impressive.
Though should the shape be viewed as negative, one may experience a feeling of apprehension. When perceived as a negative form (an opening or whole), the scale and sharp edging present a viewer with an imposing cavity. This can be viewed as potentially threatening and trigger an instinctive “fight of flight” response. In other words, it sets off an “eat or be eaten” frame of mind. Reason will tell the viewer that there is no need to fear being eaten by a painting. Yet the shape resonates deep within our primordial unconsciousness and an uneasy feeling of uncertainty occurs.
Since there are several contrasting emotions that a viewer can experience as their relationship to the lighting shifts, there is much that a viewer can pull from these works.

While the viewer can personally load the image to resemble a multitude of things, the subject represented in the work remains neutral. The ovular shapes are cloud-like forms that can conjure representations of globs of semi liquid bodies, comic book and graphic novel text frames, reese’s pieces candy, and atmospheric masses amongst other things. But, how a viewer perceives these shapes can vary greatly because they are open for the viewer to inject meaning into these forms. Despite the apparent neutrality of the subject, the tightly prescribed geometry of these elliptical forms entertain conflicting ideas and forces for the artist. For example, it should be mentioned that the artist has a predilection for Florentine fresco painting. This lends toward titles such as “Halo” where additional meaning can be tapped once one references the threads of icon painting throughout art history.
So sitting atop an extensive history of painting, this work enables several parallel and corresponding connections to be drawn. Once clarified, this work is much more complex than it first appears. What is most illuminating is the artwork’s ability to raise questions about the role of contemporary painting and the interactivity involved in viewing art.

Lastly, the third and metaphorical form of illumination is when one experiences a spiritual or intellectual enlightenment.

After viewing these works, one is able to transcend beyond the antiquated notions of contemporary painting and experience painting in a more elaborate and stimulating manner. John Berger in Ways of Seeing once wrote :

“We never look at just one thing; we are always looking at the relation between things and ourselves. Our vision is continually active, continually moving, continually holding things in a circle around itself, constituting what is present to us as we are.”(Berger 9)

This segment of Berger’s book encapsulates the relationship between the viewer and the artwork. This “New Painting” is a good example of how art can cater to human perception. Unlike a static image that is intended for viewing from one perspective only, these paintings are intended for multiple perspectives. A viewer experiences the imagery from a unique perspective that relates to their physical locale and their perceived source of illumination. Therefore, this work does not translate well through reproduction as understanding it is dependant upon experiencing in person. As a result, it epitomizes and reinforces the missions of museums and exhibition spaces as well as enhancing our knowledge of human perception.



Overall, the “New Paintings” of Jane Harris critically champion and extend concepts found within modern art theory. This work contributes to the furtherance of Walter Benjamin’s concept of the ‘aura’ surrounding an original piece of artwork, by extending the quality of presence an artwork can hold. And, most importantly, the work stresses the imperative of viewing artwork in person due to the dynamic physical and psychological exchange that occurs.