Harris is known for a series of exquisite mixed-media assemblages like this one. The painted elements of each work are as meticulously rendered as the frame, which Harris treats as an integral part of the work. Slightly larger than Byzantine icons, and indebted to Modernist abstraction as well as to Tibetan and Buddhist art, Harris’s works are intimately scaled. According to the artist, they serve as a kind of meditative device: they are meant to grip the mind via the eye and to trigger moments of imaginative reverie, if not flights of spiritual and metaphysical fancy.
"Acquisitions of the Princeton University Art Museum 2011," Record of the Princeton University Art Museum 71/72 (2012-13): p. 75-132.