THE THIRD CHAPTER : INTERVIEW WITH Tara Harris (ENGLISH VER.)
Every artist carries something at the heart of their practice—an idea, a question, or a way of seeing that continues to shape the work as it evolves.
In this conversation, Tara Harris reflects on an artistic practice shaped by instinct, imagination, and an openness to the unexpected. Her paintings often evoke landscapes, yet extend beyond the depiction of familiar places into more personal and imaginative territories. Through an intuitive approach to painting, she allows images to emerge and evolve through an ongoing dialogue with the canvas. Her work reveals an interest in the possibilities of the creative process, where uncertainty, experimentation, and discovery become part of the language of painting.
In this chapter of The Core Message, we explore the thoughts and experiences that continue to shape her artistic journey. Reflecting on her relationship with painting, the nature of creative freedom, and the ongoing search for a more personal form of expression, Tara considers what it means to remain open to change and possibility. Her reflections offer a glimpse into a practice that is less concerned with arriving at a fixed destination than with embracing the discoveries that unfold along the way.
--
Q. Thank you for joining us. To begin our conversation, we are curious to know how you define your identity as an artist at this moment and what central theme most occupies your thoughts.
A. At this point in my life, I see myself as someone who paints instinctively. I rarely begin with a clear idea of where a painting is going. Instead, I respond to what appears on the surface, building, scraping back and rediscovering images as they emerge. It is a process of trust, and it is one of the reasons I love painting.
Although my work often resembles landscapes, I am not trying to paint real places. The places I create are shaped by memory, imagination and emotion. They are somewhere between the world I know and the world I escape to when I am painting.
More than anything, painting gives me freedom. It is where I can step away from everyday life, slow down and be completely absorbed in the creative process. I would like my paintings to encourage viewers to pause, look more closely or lose themselves in their own imagination for a while.
 |
Materials Oil on wood 64 × 64 cm |
Q. This chapter is titled "The Core Message." If you were to describe the "anchor" or the most fundamental intention that holds your practice together, what would it be?
A. At the heart of my practice is the need to escape into imagination. Painting gives me a place where I can leave everyday responsibilities behind and simply explore. It is the one place where I feel completely free to be creative. It helps me process emotions that are difficult to express in words and creates moments of calm, curiosity and hope.
If my work offers someone else a brief sense of escape or encourages them to slow down and imagine their own story within the painting, then it has done what I hoped it would.
Q. Is there a specific piece among your works that you feel most clearly embodies this "core message"? We would love to hear the story behind that work and why it holds such a special place in your heart.
A. If I had to choose one work that embodies the core of my practice, it would be The Surfers. Like most of my work, it began with unconscious mark making, allowing the painting to evolve intuitively without a fixed destination.
As it developed, it reminded me of a recurring dream I have had over many years, where I am hovering just above the ground on a board, gliding effortlessly through the landscape. The two figures floating through the painting seemed to capture that same feeling of weightlessness, freedom and possibility.
The Surfers holds a special place for me because it reminds me why I paint. It shows me that if I trust the process, unexpected ideas and memories can surface.
 |
The Surfers
Acrylic and oil 64 x 64 cml |
Q. Sometimes, the most important messages are felt rather than seen. Is there a "whisper" or a subtle atmosphere in your work that you hope the audience will sense, even if it’s hard to put into words?
A. I hope people feel a sense of quiet possibility; to feel as though they have stepped into a place where time slows down and imagination can take over.
There is often an underlying feeling of calm mixed with uncertainty. I think that’s how life really is. Even when a painting contains tension or darker passages, I hope there is always a sense that light can be found somewhere within it.
If there is a whisper in my work, it is simply this: it’s okay to pause, to escape for a while, and to let your mind wander. In a world that often feels noisy and demanding, I hope my paintings offer a small space to breathe.
 |
Made in Brum
152 x 91 x 5cm
Oil and acrylic |
Q. Artists often find themselves returning to a certain inquiry. What is the persistent question you find yourself asking through your art, regardless of how your style may change?
A. The question I keep coming back to is, How can I become a better painter? I have only been painting seriously for a couple of years, so every painting feels like another lesson.
Sometimes I think of painting as having my own language. I know I have a voice, but I am still working out which country I am in. Every painting teaches me a few more words, helps me understand the landscape a little better, and makes me more confident in expressing what I want to say.
I am not searching for a fixed style. I am searching for fluency—for a way of painting that feels completely natural and truthful. The journey never ends.
 |
Shallow Waters Oil on wood 40 × 50 cm |
Q. During the creative process, is there a specific moment or a sensation of "rightness" that tells you a piece has successfully captured your intended message?
A. For me, it is less about knowing that a painting is finished and more about sensing that it has found its own balance. I am looking for a visual rhythm where every part of the painting feels connected. My eye should be able to travel across the surface without getting stuck on something that feels out of place or unresolved.
That is why I often return to paintings I thought were finished. Seeing them with fresh eyes can reveal something that disrupts that balance, however subtle. Some paintings find their rhythm quickly, while others take much longer. Teetering, for example, took over a year to complete because I kept revisiting it until everything felt as though it belonged together.
Strangely, when I finally reach that point, I no longer want to look at the painting. It is a very definite feeling of, that’s done—put it away. Nothing is asking for my attention anymore. That is when I know it is time to let it go.
 |
Teetering - A Landscape on the Edge Acrylic and oil on wood 2026 |
Q. Beyond the final result, what part of the "act of creating" itself do you find most precious or aligned with your personal values?
A. Creating also gives me permission to slow down. In everyday life there are always responsibilities, decisions and distractions, but when I am painting I’m completely present. Time disappears, and I become absorbed in looking, responding and making choices.
I think that process reflects my values. It reminds me to stay curious, to accept that not everything has to be controlled, and to trust that something meaningful can emerge through patience, persistence and imagination.
 |
Shifting Shapes
Oil on wood
40 x 50 cm |
A. I hope my paintings are like places you choose to visit more than once. Each time you return, you notice something you hadn’t seen before—a different path, a new shape or an unexpected connection. I enjoy leaving space for viewers to bring their own memories and imagination, so the painting continues to unfold with each encounter.
Q. Thank you so much for sharing such thoughtful insights with us today. As we conclude our conversation, is there a final thought or a quiet sincerity you would like to share with those who will encounter your work?
A. If my paintings encourage someone to pause, look more closely, see the world a little differently, or even feel inspired to make, write, draw or create something themselves, then they have achieved far more than simply being images on a wall. That, for me, would be the greatest compliment.
 |
Nocturnal Bloom Oil on wood 40 x 50cm |
Comments
Post a Comment