Tomorrow, on Saturday 23 May, Simon Harris' exhibition Precarious will open at Clara Street Gallery in TBSSS. Simon teaches Life Drawing for Sculptors at the studio, and has been a student in our sculpture workshops since 2022. In February we interviewed Simon about his life drawing workshop, and we're glad to be speaking with him again ahead of this weekend's exhibition opening.

Clara Street Gallery: Tell us about your title—what do you mean by Precarious, how does it relate to your drawings in the exhibition?

Simon: 'Precarious' alludes to the finely balanced forms, some of which appear to defy gravity whilst others could collapse at any moment, hinting at the vulnerability of human existence.

What was the process in creating these works? Did you work with a model or any particular references for the figurative pieces?

The drawings always start with a small 'thumbnail' sketch, there are currently about twenty ideas in my sketchbook waiting to come to life. I very rarely work from reference although the 'Primal Venus' was an exception—it had to look like the 'Venus de Milo', so I studied the reference very intensely. As for the shape and texture of the rocks, I just draw them freehand, the rocks are all in my head!

How has your drawing style changed over your career, are there many differences between the earlier works and later works in this exhibition?

The earlier works are more painterly, created with chalk pastels so they have less detail. The later works are created with graphite sticks which can be sharpened to a needle point, so the detail is very intense. I love the rock texture in my later works, but I also like the way you can see the beginnings of my balanced rock obsession in the earlier works.

Your class at TBSSS, Life Drawing for Sculptors, is concerned with how drawing can build up a sculptural understanding. How would you describe that relationship in these exhibited works, would you say that sculpture shapes your drawing here?

I think it's more accurate to say that these are all sculptures that I've drawn... they just don't exist yet! That rendering of the sculptural planes and masses, the awareness of light and shade, all comes from years of life drawing study. I think every artist should do life drawing regularly, it really sharpens up your ability to analyse form.

Finally, you've said these works draw on your love for prehistoric Stone Age art and structures, particularly Stonehenge. Where did that interest come from?

I've been to Stonehenge a number of times and each time I'm there it feels more magical than the last. Your first view of Stonehenge will probably be from the A33 as you're travelling west. It looks like a small bunch of rocks in a Wiltshire field. But when you're in that field looking up at the giant stones that were manhandled on top of each other 4,500 years ago it's impossible not to have a sense of awe. So imagine how impressive it was to Stone Age people who'd never seen a structure larger than a mud hut. It's that sense of awe and majesty that I try to touch on with these drawings.

Thanks for chatting with us Simon, all the best for your installation and the opening this Saturday!

Pictured above: Anney II (top left), Ghost Lumper (top middle), Primal Venus (right)

Simon's workshop Life Drawing for Sculptors is also running at the moment, every Saturday 2:30—5:30pm until 27 June (no class 23 May or 6 June). You can book individual casual classes for $85 each, reply to this email or book on our website here.