With a unique style and medium, Misha Harrison's artworks are a cut above! Bright, colourful and intricately layered, they bring a unique style to the Still Life subject. We talked to Misha about her creative process, her inspiration and finding her style.
How would you explain your artistic style and approach to someone unfamiliar with your work?
My work explores the fusion of sculpture, painting, and embroidery through intricately hand-cut, painted, and embroidered plywood. Mundane in its original form, I transform plywood into vibrant, textured still life compositions, reimagining the genre of still life and celebrating the notion of the handmade within a society dominated by the readymade and mass produced items. By combining labor-intensive woodworking with delicate embroidery, I challenge conventional boundaries and explore the interplay between strength and fragility, mascilinity and femininity. My process is both methodical and intuitive, with each piece revealing itself like a puzzle—layer by layer, shape by shape. Through this, I aim to breathe new life into still life, celebrating materiality, craftsmanship, and the beauty found in everyday objects.
How has your work evolved over time?
I love this question! My art has definitely evolved over time. Years ago, before I found my style, I was a firm believer in not sticking to just one approach. I experimented with a wide range of materials and explored many different genres of art. But when I discovered plywood as my primary medium, I proved my younger self wrong—I finally found something I wanted to commit to.
My early plywood artworks were highly abstract (I even have an old piece as my dining table under glass!). A major turning point came when I entered a still life exhibition with one of the galleries I was represented by. Creating my first woodcut still life sparked a whole new creative curiosity, and suddenly, the inspiration and possibilities felt endless. Over the years, I refined my skills with woodworking tools, making my pieces more polished and intricate.
Recently, my style has evolved again as I explore new viewpoints and shadows. I’m super excited to share my latest work—can’t wait to see where this next phase takes me!
What advice would you give to emerging artists?
I’ve said this so many times—experiment, experiment, EXPERIMENT! If you haven’t found your creative voice yet, try everything you can. Don’t force it or copy someone else’s work—think outside the box. Explore unconventional materials and tools, push boundaries, and see what excites you.
If you’re studying art, take full advantage of that time. Being able to create for hours on end is a luxury you won’t always have, so use it wisely. Ask questions, challenge ideas, and pick your teachers' brains—they’re a wealth of knowledge. The more you explore, the closer you’ll get to discovering your own unique artistic voice.
What’s next for you in your artistic journey?
A fellow artist, Jessica Watts, and I have launched an online gallery called Good Work Gallery, representing artists who explore materiality and push the boundaries of conventional art-making. Our debut exhibition will be at the Brisbane Affordable Art Fair from May 8-11, 2025, featuring works by Tanya Stubbles, Jessica Watts, and myself. This is such an exciting venture for us! While we hope to establish a physical gallery space in the future, for now, we’re focusing on showcasing our artists at Affordable Art Fairs across Australia and internationally. Can't wait for what’s ahead!
How do you recognise the moment when you need to create? What triggers your inspiration?
I have an insanely busy mind—I’m creative 90% of the time, but I also burn myself out a lot. Since making art my full-time job, I’ve learned to switch it on every day (still working on switching it off, though—haha). Over the years, I’ve become a little more chilled, a little more organized, and a little less stressed, but because my work takes 1-3 weeks to complete, balancing it all is still a challenge.
I feel especially inspired when I travel and experience different cultures. I’m a very curious person, always trying to figure out how things are made. The incorporation of wool and thread in my early work was actually inspired by my travels through India—while admiring the vibrant, intricately detailed textiles, I noticed an embroidery technique that involved wrapping and stitching around an object. That idea stuck with me, and years later, it found its way into my plywood abstract works. Inspiration often comes from unexpected places, and I love seeing how those influences resurface in my practice.
What are your go-to materials, and do you have any unconventional tools in your practice?
My go-to materials are plywood, acrylic paint, and embroidery! Since I was a kid, I’ve been a total tomboy—always fascinated by tools and building things. My dad taught me the basics, and from there, I started teaching myself.
I use woodworking tools in unconventional ways. A router with different bits helps me carve patterns and textures, while a drill allows me to create thousands of tiny holes for the embroidery to pass through. I cut my shapes with a jigsaw and refine them with a sander. I’ve even dabbled in furniture making, so I’ve definitely gotten my money’s worth out of my tools! I love experimenting, pushing both traditional and unexpected techniques to bring my ideas to life.
