The Artnet Gallery Network has thousands of artists and artworks—with more added all the time—and our liaisons know what's available better than anyone. We asked them to share a few of the works that have captured their attention, and their picks are a great way to get inspiration for how to expand your collection, discover a new artist, or start the journey to finding that perfect piece for your home or office. 

Carla Jay Harris, whose artistic journey is rooted in Los Angeles, presents a captivating blend of photography, installation, collage, and drawing, all meticulously crafted to explore intellectual, emotional, and psychological landscapes. Utilizing both studio and street photography, she captures foundational images on film, later integrating them with hand-drawn illustrations and digital collages in her digital studio.

According to the agenda, PRCS will provide a presentation that includes key introductions for Corey Dunlap, Public Art Coordinator from the Cultural Affairs Division, and artist Carla Jay Harris and Deborah Aschheim, who have been chosen to accomplish two tandem Public Art Projects with a budget of $200,000 each. 

Carla Jay Harris, whose multidisciplinary practice includes photography, installation, collage, and drawing, will be at the meeting, which is scheduled for 6 to 8 p.m. at the Recreation Center at 1081 N Fair Oaks Ave. in Pasadena. Aschheim and Harris will share their artistic background and approach to the project, which involves extensive research and active engagement with the Northwest Pasadena community. 

The Marietta College art department is pleased to present “BITTER EARTH,” an exhibition by California artist Carla Jay Harris in collaboration with Dr. Brenda Stevenson. Bitter Earth is a collaborative mixed-media installation project exploring the historical Black experience. Harris questions how did the shadow of Jim Crow impact the lives of her elders, and the broader question of what aspects of the past are remembered, represented, and reproduced in contemporary society?

What makes Harris so special is her magical ability to create fantastical (and yet intimately familiar) works. These art pieces feel as though they’re fables, and we’re familiar with the characters and landscapes. Using a combination of photography, her own unique digital painting method, and acrylic, Harris stuns with large format artworks which are accessible across an array of viewers. 

Equally lovely are the gilded, fantastical images of Harris’ A Season in the Wilderness. Infused with light and a sense of magic, Harris shapes boldly hued visuals myths both mysterious and captivating. With gold leaf elements that mirror that of Byzantine icons, Greenfield’s “A Survey, 2001-2021″ creates powerful paintings that subvert negative stereotypes about Black people and culture. Like Bey and Harris, a fierceness in palette matches passion for his subjects, serving as a framework for a message of pride, hope, achievement and sacrifice.

A new exhibition, We Are. . . Portraits of Metro Riders by Local Artists, is now on view in Union Station’s Passageway Art Gallery. Each rider portrait has a story that is personal and universal, intimate and immediate — and each is told by an artist with ties to neighborhoods served by Metro. Artwork by Carla Jay Harris will be included in the exhibition.

The exhibition includes 35 portraits celebrating the diversity of Metro's ridership, with transit riders of different ages, ethnicities and backgrounds included. Artwork by Carla Jay Harris will be included in the exhibition.

In each of Carla Jay Harris’ photographic collages at Luis De Jesus in the Arts District, the artist drops us into an allegorical narrative that is frozen in time. In each, figures commune with each other in ethereal landscapes which layer washy color over mountain peaks and rock formations to imbue them a  celestial atmosphere. Though based on photographs, Harris collages texture and pattern over her figures and landscapes, adding painterly gravitas to her scenes.

THE FALL EXHIBITION SEASON is officially underway and some of the first new gallery shows to open feature five early- and mid-career artists to watch. Each has a unique visual voice. What unifies their latest work is a resonance with the contemporary moment. Deborah Roberts, Carla Jay Harris, and Brittney Leeanne Williamsare confronting hard truths about ourselves, our communities, and our democracies and considering the empowering effect and emotional toll of these realities on our children and on Black women, their bodies, in particular. Sculptural reliefs by LaKela Brown utilize an ancient art form to document the lives of contemporary women. 

“I hope what the section does is show the complex nature of how each of us might envision the future,” says Wassan Al-Khudhairi, the curator of the Focus section at this year’s Armory Show. “The works are informed more by the idea of looking into the future as a place to start rather than making work ‘about the future’.” Works are often interdisciplinary, the curator says, and engage in notions of cross-cultural collaboration, environmental stewardship, mutualism, care and the power of communities coming together. Al-Khudhairi says she wants to “create a space that captures the ideas of a group of artists that consider the future in the context of our current conditions”. Carla Jay Harris’s series Celestial Bodies (2018-ongoing) at the Los Angeles gallery Luis De Jesus depicts ancient gods inhabiting the spaces where heaven meets earth, in the guise of peaceful and empowered Black characters.

Carla Jay Harris has long used mythology in her work as a tool to make sense of reality. Her series “Celestial Bodies” (2018–20) reflects her personal experiences as an American kid growing up outside the United States, picturing Black and Brown protagonists navigating mystical landscapes. Her newest pieces, featured at The Armory Show and in her current solo show with Luis de Jesus Los Angeles, “A Season in the Wilderness,” build upon her earlier body of work, responding to the circumstances of the pandemic and the social and political unrest that ensued.

Multidisciplinary American artist Carla Jay Harris also began to incorporate mystical ideas into her work due to her personal experience. “In my larger art practice, I always start with something going on in my personal life,” Harris explained. “And after graduate school, I felt a bit sort of adrift. Looking at mythology and spirituality was my own way to ground myself. And that’s what really got me into it.”

Carla Jay Harris developed her “Celestial Bodies” series, which features mythological female figures, to reflect on the universal notion of belonging.

In honor of Woman’s History Month, we are highlighting some of the work acquired by the Escalette Collection of Art this year as part of the Engaging the World: Leading the Conversation on the Significance of Race Initiative. 

We had the good fortune of connecting with Carla Jay Harris and we’ve shared our conversation below.

Carla Jay Harris is equally driven by research and materiality, as she builds complex mixed media images and objects on the foundations of painstaking historical deep dives into personal and geopolitical events. Across photography, collage, drawing, and environmental installation, Harris delicately blurs the boundaries of space and time to highlight ancestral rhymes and the follow-on effects of history. Part of her practice involves literal place-making, as she incorporates her juxtapositions of archival and original images with pattern, portrait, and talisman into rooms that ideally function as social gathering points where the conversations sparked in the work can continue in the present.

When I first saw Carla Jay Harris’ project Celestial Bodies at AIPAD (NYC) in 2019 I was spellbound. More than beautiful and graceful, her work was ethereal. Like a bashful vagrant, I conspicuously loitered by the Kopeikin Gallery booth, hoping I would have a chance to meet the artist. Ironically, I learned that she was from my hometown of Los Angeles. Emblematic of her stratospheric talent, it required a transcontinental journey for me to be introduced to someone that was practically my neighbor. Perhaps you really can’t go home again! I chatted online with Carla in June 2020 about her work and process.

There is a profound stillness in Carla Jay Harris’ photographs—her framing and shooting style emits a pervasive calm that quiets the anxiety of her subject matter. Harris’ ability to create silence amid moments of emotional upheaval is eerie, tense, and evocative. Two bodies of work portray people and places in the midst of economic and cultural change; Dirt, Dust, Sand, Concrete (2012–2015) shows Smithfield, Virginia, amid a corporate buyout, and Culture of Desperation (2012) portrays a struggling record company during lean times.

The California African American Museum (CAAM) presents recently acquired works in its exhibition called Sanctuary. The exhibition focuses on safety and refuge in relation to the African American experience. One piece in the exhibit is from Carla Jay Harris, which pictures a female figure in a celestial landscape. She explains, “I’ve had a bit of a nomadic life…Through my life, I seek to connect with permanence. Safe space and making time for self-care is essential to your own mental health and wellness.” 

Carla Jay Harris’ series, Celestial Bodies, does not entirely eliminate facial features in the work, but the features of these powerful women are not the focus either. Rather, Harris creates regal, spiritual images that combine a range of mediums. She terms them a link between the mythological and the real; travels as a child in a military family, and a sense of rootlessness, of being an outsider attracted her to the inclusiveness of legend.

Carla Jay Harris’s work investigates how physical space influences psychological space. Through photographs, composites, sculptures and built environments, Harris explores the interaction of the interior with the exterior, of home with the outside world, of image and meaning. A 2015 graduate of UCLA’s MFA program, where she studied with Catherine Opie and James Welling among other artists, Harris exhibited her work this fall at Sonce Alexander Gallery in Los Angeles.

“Remembrance,” at Rose Gallery. A group show featuring work by artists such as Martin Parr, Carla Jay Harris, Lebohang Kganye and others explores the ways in which photography has molded ideas of family and the ways in which that notion intersects with society and politics. Prior to the opening, the gallery is hosting a photography sale to raise funds for those affected by recent wildfires.

"I began my career as a documentary photographer. I worked in that capacity (primarily in New York) for nearly ten years. For most of that time, I thrived on the energy and challenges of photojournalism. However, towards the end and over time I began to feel bit constrained – constrained not only by the practical limits of journalism but also the demands of a commercial art practice. In reaction to these feelings, my interest in fine art blossomed."

Photographer Carla Jay Harris generously shares with LFF about how her nomadic existence inspires her work; her upcoming thesis exhibition, If She Were Me, for her studies at UCLA; her wish for art; how LA is for women in art and more.