2016 Graduated from BA Fine Art with First Class Honours, Chelsea College of Arts
2012 Graduated from Art Foundation with Distinction, New College Nottingham
Netaporter Event, Westminster, London. May 22, 2018
The Square Gallery, Battersea: “Introducing Connie Harrison” Saturday, October 28th, 2017 to Saturday, November 4th, 2017.
British Painting II, Bermondsey Project Space, 21st May - 15th July 2019
Take Courage Gallery, ‘Baggage’ London 6th April 2019
Flowers Gallery, Cork Street, London ‘Small is Beautiful’ , 29th November 2018 - 5th January 2019
Unit 1 Gallery, ‘Radical Residency’ London. 17th September to 29th October 2018
Bombay Sapphire 'Canvas' Event. London. 18th July 2018 - 21st July 2018
Kima Gallery, 18 Cleveland Street, London: "Design Spring 18" . Monday, April 22, 2018 to Friday, April 27, 2018.
The Nunnery Gallery, 181 Bow Road, London E3 2SJ. Saturday, June 17, 2017 to Sunday, August 27, 2017.
The Square Gallery, Battersea: "The Sacred Screen" London. Thursday, January 12th, 2017 - Thursday, January 19th
Collective 'After' showcasing in Safehouse 1, Artlicks weekend. London 2016
The Square Gallery, Battersea: "Nothing To See Here" Thursday, May 12th, 2016 - Sunday, June 26th, 2016
Chelsea College of Arts Degree Show 2016: Friday, June 17th, 2016 - Saturday, June 25th.
Unit 1 Gallery, ‘Radical Residency’ 17th September to 29th October 2018
U.K . Los Angeles
An array of materials and layers are condensed in my paintings. Painting is a process which engrosses me instinctively, and draws out the instincts of the viewer, particularly that of the tactile. I want to play on the urge to look and the urge to touch. Through surfaces and their variations compositions emerge slowly, through a process of layering and stripping away. In texture, mark, opacity, colour and line works are divided; parts unfold as distinct elements across the canvas surface. The composition is divided but balanced so as to stimulate a roving eye.
I am interested in how images are conveyed and transformed through memory and how the sensory might be reshaped through an intelligence that sits outside of words and symbols. My interest in layers is a reaction to the increasing flatness of visual culture. I try to fascinate the viewer by presenting a single thing with multiple parts all-visible at once, to present a painting with the basic tangibility of a sculpture or a sculpture with the graphic vigour of a painting. I want viewers to engage not with a surface but with a sedimentation of surfaces and one which promotes pause, and draws out instinctual desires to touch.