Memory, intuition, and the spiritual collide in the work of rising talent Savannah Marie Harris 🌌

Addy: Savannah, thanks so much for joining me! What initially drew you to abstract art as a medium of expression?

Savannah: I think it's something I've dipped in and out of throughout my whole practice. I sort of rejected abstraction at the beginning, because being trained as an artist, I felt I had to start with figurative work and focus on realism, as that is often what’s seen as the definition of 'good art'.

Then, as soon as I finished at Wimbledon College of Arts, I reflected on what I wanted to do, and I just wanted to change everything. That's when I switched to abstraction, before I got into the RCA. Since then I've just stuck at it, which I'm really happy about, because I feel like I have found my foot with abstraction versus figurative, which felt quite restraining for me personally.

Addy: Did you feel supported when you decided to change?

Savannah: Yes, I feel as though I've always had a good network of supportive friends and family. No matter what I've done, I've always had support. But when I switched to abstraction, I was doing it at home, late at night, just making these tiny paintings, which I still have a collection of, and they essentially are around my studio. I've just kind of been building upon that. Then that's when I shifted into making quite big works. It really helped to train my mind to sort of be a bit more fluid and open with making, because initially I felt quite restrained and like I needed to be very academic and correct with painting. When I was creating these tiny paintings, I really let go of that thought process.

Addy: I love that. Your paintings offer a unique exploration of space and time. Why inspired you to explore these themes?

Savannah: I think it evolved naturally. I guess you could say my current way of working is a response to how I used to do things. I was sort of rejecting being precise and neat. I needed to be chaotic and messy. That has sort of built up its own language within my practice, it’s now actually a part of the whole premise of my work.

Funnily enough, even though I sort of see my work as chaotic, there's still some sort of order and structure within it. So it's not completely lost. There's still like a train of thought, the way I display my work, and the way I am in my studio. So it's interesting to have those sort of extremes within my practice. That's what I want, to have a sort of tension between juxtaposing ideas within the paintings. So kind of like, elements of chaos in order to explore ideas of time, or more to explore the self.

I remember at the beginning, when I was starting this way of working, I had no idea what I was doing. I was just painting and I was telling my friends, who are also artists, that I had no idea what I was doing. And they would say, that's just art. That's the whole point, you have no idea. I think being in that place of the unknown, has really helped me to sit with being uncomfortable, and trust in the process to evolve into something. It's definitely to do with transformation, and with time. I have to trust that I will arrive to something that works out.

Addy: That’s really interesting. You mentioned an exploration of the self, your work seems to explore the inner world. Is there a specific personal narrative you often draw from?

Savannah: I think, perhaps I have many different narratives that are embedded in my subconscious that come through in my work. Sometimes I will place a mark down and think, oh, this reminds me of this artist, or I create a shape and I think, this reminds me of this memory with my family, or my friends, or I think about something that’s lodged in my head that I wouldn’t think about day to day unless I was painting. In that way, the narrative is a bit more sporadic, and quite cosmic within my mind. It just comes out when it needs to.

That's when I'm either responding to it, or I want to play on that idea. I’ll scrape it off or subtract it from the painting, because that's not where I want it to head, I still want it to be quite ambiguous. In the making process, I don't really like to tie the work to a particular narrative. It's more like an overall form, an overall world that I'm trying to build.

Addy: Can you walk me through your creative process?

Savannah: One thing I try to do with every single painting is, if I'm starting a new work, I always enter into the studio as if I'm a beginner again. I try my best not to be so formulaic with how I paint. I know that there are tendencies and habits that come through later on, which I just naturally fall into, because I like working that way. So every time I start a painting, I do something different. I disrupt the surface, sew pieces together, or I work on the floor, so that I get a different perspective. All of these things help me to enter in a new way. Then that's when I start to take the time, a very long time, of looking and analysing the painting to see where I should go.

Once it gets too much, once I've applied too much paint, or too much of anything, that's when I start to scrape back, to get to some sort of beginning again. It leaves a sort of resonance, something I can pick up on, but it has to come naturally. Sometimes the process almost comes out of frustration, because I might not think that it looks good. So I do something quite destructive, like scrape back or flick paint, something that will disturb the scenery of it all. That usually helps something click in my head. Then I can go back into it again. So yeah, my process is ebbing and flowing essentially.

Addy: Do you ever come back and change different things, like after you think a work is done?

Savannah: No, it's quite interesting. I’ve become quite good at saying this is finished, even though I know I could change it. I've always have that question of, is this something you're happy to live with? If I'm satisfied, and I'm okay with it, then I’ll stop. There's always something I could change with every painting. I have a portfolio on my phone of all the paintings I've done and I always look through and think, why did I do that, but I know I can't change it. It’s no longer within my control, because it’s out there in the world. I do make sure that I get to a point where I'm happy with where it is, and where it stands. I don't want it to ever be perfect, I always want there to be that sort of playfulness, and also naivety to painting. I quite like that. So I keep that there within all of my paintings.

Addy: I think it makes it feel more real in a way.

Savannah: Yeah.

Addy: For me, the artists that I enjoy tend to have that vulnerability within their work. Whether it’s figurative or abstract, you can see the journey, that sort of struggle to arrive at something, and I quite like that.

Savannah: That's what I try to embody through my work. That’s also why I enjoy the process, even though it makes me feel uncomfortable and I get really frustrated. I enjoy the process of this back and forth with the painting.

Addy: Embracing that feeling of discomfort.

Savannah: Yeah.

Addy: You said that it takes you a long time to paint. What's that process like?

Savannah: I would say for every painting, three to six months is like a nice amount of time. I start a lot of paintings at the same time because I don't like to enter a painting without something being there. I'm always sort of intimidated by the white canvas, it just feels too bare. When I have something there, whether it's a drawing or a wash of paint, then at least I know, I'm just picking up a conversation, like how it feels to pick up a book when you have the last 100 pages left.

However, I do like to enter the painting with different techniques, so that's why it takes so long. I learn with every painting. When I'm making something new, I forget and think to myself how did I do that? It's that battle of just remembering things, essentially. But yeah, I would say it takes three to six months for me to make a solid painting that I'm really happy with.

Addy: Do you tend to feel attached to some of them?

Savannah: Once it's done, it's done. I don't want to be attached to my paintings. I value the lessons, the skills, and the techniques that I gather from them, that's something I would say I'm attached to more so than the actual paintings. For me, paintings are an outcome of a way of thinking and a way of working. So for me, that has holds more value.

Addy: That reminds of the quote, “It's not about the destination, it's about the journey”, I know that sounds a bit cheesy.

Savannah: That's essentially what I embody with my paintings.

Addy: Can you elaborate on the significance of using sand in your practice?

Savannah: It all started with figurative works. Still to this day, I’ve never painted a portrait. I find it very uncomfortable to look at myself for six hours, it's just not for me. But I always wanted to find a way to bring myself into the work. I thought, yes, I'm making, but how do I bring my identity into it? Then I started to really think about what identity is, and what aspects you can look at it through, for example, culture. And because I entered abstraction, I was very much interested in the materiality of making. I didn't want anything to be so concrete in terms of objects and matter. So I thought about my family and where they come from, and about the different locations. When I was really young, I went to Jamaica and I remember being on the beach, and there was just so much sand. I really loved the sand. It was beautiful. So this is my way of engaging with that.

For me, it's still quite abstract, because there are so many different aspects. I look at sand not just through the cultural connection but also the fact that sand is such a useful material. It's what helps to build the structures of our world, essentially. Builders use sand to make concrete. It’s in all of these materials, buildings, and structures that we live within. So for me, I feel like that's another way that I look at my paintings, using sand as a way of building within.

From there I started to really get into materials, and I started doing a lot of research. I came across geology and realised that this is what my practice is about, this sort of formation of rocks, because that's how I look at the paintings as being in their own world, you know. Sand became another useful tool for bringing everything together.

Addy: I feel like sand is kind of everywhere, in a weird way. When I think of sand, I think of time, because of those little hourglass timers. Like the ones you use as a kid when you brush your teeth. It's a really subtle way of incorporating your life into your work, which is really cool.

Savannah: Yeah, with sand, you mentioned time and sand is the end product of rocks when they erode over time. That's how I look at my paintings, it's this erosion over time. I find it quite interesting that the general understanding in society is that if something has eroded over time, that it's a negative thing. That it's something that can cause harm in some ways, but actually, within nature, it's useful. It's needed. It's a part of a necessary process of life.

Addy: Definitely. How has your approach to abstract painting evolved over time?

Savannah: When it comes to painting, it's definitely changed since my time at the RCA. I was given the time to really allow myself to go through all of the motions of making. When I was at Wimbledon, I didn't have enough time to make because of just life, essentially. I wasn't able to fully commit at that time, so I never felt like I was really delving deep into my work. I was always finding moments throughout the week, it felt like I was always pausing. So when I was at RCA, I sort of allowed myself to basically be lost in making for the first year. I used that time also to do a lot of research.

Also my life experiences sort of shaped me because once I was around people who were so dedicated to painting, it uplifted me to also want to be as dedicated to painting. I was around artists that were talking about materials, talking about the subject, and it was just really inspiring, which helped me change my perception of painting.

In terms of the actual practical side, I would say that I still get lost in the making, because I know that it's part of my personal process. I’m just not as anxious about it. Before, I would think this is a terrible painting, maybe I should destroy it, I'm not a good painter, all of these intrusive thoughts would flow through my head. Of course, you can talk to your friends and family about it and whatever. But again, this is a very personal journey that you have to go through. So for me, I now know that it is just a part of it. It's always going to be at the back of my mind, when I look at my paintings, I’m always going to ask myself Why are you painting? What is this?

In the past, it would be in a sort of negative way, but now I'm like, no, that's a good question. Why am I painting, what do I need to work through? I feel like I've found better ways to respond to my emotional world whilst painting, essentially. That is a huge part of my practice. I'm not using reference materials around me, so I'm really having to think and look for a very long time, and sort of analyse my thought process whilst I'm making.

Addy: I think that's really powerful. Like, taking something that felt almost discouraging and leaning into it. Just asking yourself those questions and following that thought process until you get to a headspace where you can carry on, I think that's really big. It's like, overcoming something that could have been a really huge obstacle for you creatively. That's great.

Savannah: Thank you. Yeah, I would say it definitely was a huge obstacle and I think it's a very universal thing amongst artists, and just anyone creative. Overcoming these hurdles. It felt very alien and unfamiliar to me, but now I kind of sit comfortable, well not comfortable, because it's still uncomfortable. I don't like it, but I'm more familiar with it, you know?

Addy: When you spoke about feeling more comfortable when the canvas isn't completely blank, I feel that way about writing. I'd rather just have something written down that I can edit, rather than just like a blank screen. It can be so intimidating. So I think it's a universal feeling, in a way. It's natural to feel self doubt when it comes to something creative, because other people will interpret it differently. I think you have a good process.

Savannah: Yeah, I think that's what it is. It's a lot of self doubt. It's interesting, as I've progressed with having shows, making works et cetera, et cetera, I would have thought that I would be much more confident, but I still experience the same feelings.

Addy: I honestly feel the same way. Obviously, you're like an artist, so it’s different, but I get what you mean. Even when you accomplish things, the feeling just doesn't disappear entirely, which is weird, but yeah.

Savannah: Yeah, it doesn’t. I think it's clearly just a natural human experience that everyone goes through.

Addy: For sure. What role does intuition play in your practice?

Savannah: I think intuition is essentially the sort of base of my process. It's something I rely on heavily. I feel as though, in terms of trying to create something unique, something that feels genuinely vulnerable, I have to rely on my intuition. It’s part of the process. Intuition sort of guides me through my paintings, I would say, and all the materials I use. Even to this day, when it comes to research, I always rely on my intuition.

Addy: Do you trust your intuition, like entirely?

Savannah: I don't, because there’s always that self doubt. But I would like to get to a point where I do trust it fully. On the flip side, it’s good to not trust your intuition fully, because you need a bit of scepticism within yourself when you're making art. So I guess it's like a contradiction.

Addy: I think it's very human to just follow your intuition, but also to still have those moments where you might not completely trust an idea that you have, or a feeling that you have. Everything you're describing feels very raw and expressive, which comes through in your works visually.

Savannah: Yeah, I think that's what it comes down to. It's a really important thing within the making process.

Addy: Where do you find inspiration?

Savannah: My inspiration, I would say, definitely just comes from looking at art. I consume it all the time. I'm always left with some sort of impression, but I don't necessarily always know the source of what it is. I'm always thinking, this looks interesting. I wonder how the process is done. How did they do this? And I really question it. This will often stay in my head and linger until I get into the studio.

When I see marks or I see a particular way of working, it reminds me of certain artists. I feel like my brain has soaked up all of the information around me like a sponge and I quite like that, because I haven't needed to write it down or needed a record of it. So my inspiration is just everything around me.

I do listen to music whilst I'm making sometimes, but most of the time I like it to be completely quiet. I don't want anything around or any sound. Sometimes if I'm working really late, I like to listen to certain music to sort of give me that kick. Essentially, the kick that coffee would give you, but I just don't want to drink coffee at maybe 7pm, so I will listen to music that really gets me going.

I think the quietness is needed though, because the way that I paint feels like a meditation in some ways. So for me, I don't want to employ too many external sources around me. I want to be able to notice, right in the moment, what is happening to either respond or reject it.

Addy: That makes sense. Which painting are you the most proud of?

Savannah: I never look at my paintings as something to be proud of, this comes back to not feeling so attached to them. I’m much more attached to the process. Whereas, if I'm proud of the paintings, it feels like I have some sort of ownership over them. I know that I've made them, but I never feel like I own them.

Addy: I wrote the question before you mentioned not feeling attached to your paintings. (laughs) Maybe I'll change the question slightly, is there something that you've learned or a process that you feel has been really transformative? Or something that you took from the process that you still hold on to now?

Savannah: I would say, part of the process that I'm really learning to try and embody is taking a step back. In the past I would get overwhelmed, and then keep on painting. Sometimes you just need to have a day off, or to not look at that painting and just do something else. It's almost as if I felt as though I needed the answer to come quickly.

I've now learned that actually, it's better not to place any judgement. To just allow the painting to sort of guide me to where it needs to be. It's only recently that I've really learned to say stop, you've done a lot. It looks interesting. Let's not go any further. Now, I give it a day or two and come back.

Addy: Yes, you can come back to it with fresh eyes, and approach it differently. Or sometimes you just need your mind to rest for a bit so that you can inject that energy that you had when you started.

Savannah: Yeah, I agree. I would obsessively get irritated, especially with oil paint, as it takes a really long time to dry. Especially considering I work with impasto in my paintings, so it takes even longer to dry. I’m learning to have patience with the making process.

Addy: That's good, you’re learning your own boundaries in a way.

Savannah: Yeah.

Addy: What do you hope viewers take away from experiencing your art?

Savannah: I would hope that they would appreciate the journey of something coming to fruition. An idea that feels very intangible becoming tangible. That they would look at the work and think, this person has really pushed their limits in some sort of way. That's what I try to do with every painting I make. So it would be nice if that was received. Of course, if it's not, then I'm also intrigued. What would their perspective be?

Addy: Yes, so they look at it and think, this is a labour of love. A lot has gone into creating this.

Savannah: Yeah, definitely seeing the labour of the work. Also capturing that it obviously needed time. I like when the paintings get really complex with the colours, and the strokes, and the drips. It’s almost like every time you come back to the painting, you see something different. That's what I really like. I think that comes with time. I would want the viewer to see something different each time they come back to it.

Addy: That’s really special. So, at the end of interviews, I do like something called a rapid fire round 🔥 Art Deco or Bauhaus?

Savannah: Art Deco.

Addy: Brushes or palette knives?

Savannah: Brushes.

Addy: Ceramics or textiles?

Savannah: Textiles.

Addy: Yes! I really love textiles at the moment but I also love ceramics, anyway this isn’t about me lol.

Savannah: That one was a bit hard because I love ceramics as well, but then some of the paintings that I really love by other artists almost feel like they're on the tipping edge of textile.

Addy: Large brushstrokes or tiny details?

Savannah: Tiny details.

Addy: Dreams or memories?

Savannah: Dreams.

Addy: Forests or deserts?

Savannah: Forests.

Addy: Order or chaos?

Savannah: Both.

Addy: I love that. You mentioned order and chaos earlier in the interview and I was thinking in my head okay, this question is really good. Velvet or silk?

Savannah: Velvet.

Addy: That's a good choice. Books or films?

Savannah: Books. I don't know if you can see, but yeah. (Savannah's surrounded by books lining the background of the Zoom call)

Addy: I don't know why in my head I was like wondering if some of those are DVDs. Are you a big reader?

Savannah: Yeah. I have books everywhere. Every nook and cranny. But in my studio, I have nothing. So when people come to visit, I know the assumption is does she even like art? But I do. I just store all my books at home.

Addy: I think that's smart. Keep them away from the paint.

Savannah: Yeah, that’s what it is. I will say I'm attached to my books.

Addy: That’s cool. Do you have a guilty pleasure TV show?

Savannah: I would say House. I don't know if you know that show.

Addy: Yeah, my sister used to watch it.

Savannah: I’m still obsessed with it, still watching. I can't help myself.

Addy: What’s the last song you listened to?

Savannah: Let me look on my phone. So the band is called Atoms for Peace and the song is called Judge, Jury and Executioner.

Addy: What kind of genre is that?

Savannah: It's kind of like rock. One of the main members is Thom Yorke, who is the leader of Radiohead. I'm obsessed with Thom Yorke.

Addy: Amazing, I’ve added this to my list. Savannah, thanks so much for answering all of my questions! I hope you enjoyed the interview.

Savannah: I’m excited to read it, so thank you.

Addy: I really enjoyed chatting and just learning more about your practice. Thanks again <3

For more from Savannah, check out her Artsy feature here!