The art of Marshall Harris is best described as autobiographic. Most of his works are larger than life, just like the artist, and each is infused with an obsessive attention to detail, technique, quantity and quality. Harris’s skill set is vast. He is an innovator, a spiritual and rich thinker, and most compelling of all, he makes things. All kinds of things. From his hyperrealistic drawings that are complex and detailed, conjured up with graphite on Mylar, to the completely vacant and quiet emptiness of his Stripped Naked and Numbered sculpture series, Harris’s work proves to be black, white and everything between.
Harris's drawings, at times, span beyond one hundred inches in width and present the most photographically impossible details. He offers works he has tediously drawn and colorized in the negative format, only to then digitize them, in order to reverse the negative to create a new positive image. And if his technical ability were not enough, he has content — truly deep, thought-provoking content. He is not afraid to be confrontational. He is not afraid to make a statement. He is not afraid to stand for something. But even in this confrontation, a softness still emerges.