At the centre of Naomi Harwin’s practice is an interest in ideas surrounding part-hood relations, drawing particular focus to the the play between a 3 dimensional object and its representational parts. Using source objects that are ambiguous in nature while referencing machine-made and corporeal forms, she looks to break down the moment where a perceptual encounter takes place, situated in the in-between.
Employing drawing, photographic, sculptural and video practices Harwin translates and re-translates a source object, allowing the behaviour of materials to govern the process. Through which the constituent parts are condensed down to their essential essence. Each existing as a component of its original while gaining autonomy as an entity in its own right. Through their assemblage and an intuitive use of space these forms capture a moment in time. More recently Harwin has been investigating the connections between materials and scenography in place-orienting the viewer.
Harwin graduated from Norwich University of the Arts in 2014. Previous commissions, exhibitions and features include: Hospital Rooms (Northside House), Norwich (2021), Encounter, Wysing Arts Centre, Cambridge (2020), To be an object is to possess a boundary, 1961 Projects, In Personam, Singapore (2019), Like-minded, Minimal Zine issue 01 (2019), Non-working hours, 1961 Projects, Singapore (2018), We:You,Me, Firstsite, Colchester (2017), AD HOC + TRADE Swap Editions, Art Licks,SET and Castor Projects, London (2017), in between things, Nunns Yard, Norwich (2016) and ‘O’, Airspace Gallery, Stoke-on-Trent (2015).