Harris Allen (b. 1995, Springfield, Illinois) is a contemporary video artist living and working in Noyack, New York. His work has appeared in The New York Times, The Wall Street Journal, and Architectural Digest. Experimental video projects he shot and edited have been nominated for a Primetime Emmy Award, received an AICP NEXT Award, and been featured at the Tribeca Film Festival Immersive.

 

Operating within his invented “living image” methodology, Allen uses high-speed video to produce non-narrative moving images that exist in digital, sculptural, and conceptual forms, functioning as perceptual objects rather than time-based sequences. Merging the gestural immediacy of painting, the stillness of photography, and the physical presence of sculpture, he captures thousands of frames per second using scientific and cinematic imaging equipment to reveal otherwise imperceptible structures of time, memory, and human presence. His practice positions video as a container for multiple states of a moment, often presented as physical objects constructed from materials such as brushed aluminum, glass, paper, and diffusion surfaces, bridging the digital and physical while challenging video’s conventional time-based definition. During his residency at The Watermill Center, works such as Adam and Eve (2025) reworked historical narrative into non-linear, non-narrative perceptual objects, while his exhibition Look Alive at Guild Hall (2024) revealed otherwise unseen dimensions of artistic gesture, notably in Mary (2024), his portrait of painter Mary Heilmann. His ongoing Windows series reflects his multi-year study of water through perceptual and sculptural moving form.​