recent and forthcoming:

Who's Eye, Spike Island Bristol, 19 July 2017
32nd Biennale of Graphic Arts Ljubljana, 16 June - 29 October 2017
ENTROPY, Dead Darlings #9, FOAM Amsterdam, 11 June 2017

info at rileyharmon dot com





32nd International Biennale of Graphic Arts, archive MGLC; photo: Jaka Babnik
supported in-part by Mondriaan Fonds, Courtesy of the International Centre of Graphic Arts collection



Compression Artifacts, 2015
hydraulically compressed film set detritus, custom animation and projection
160cm x 160cm x 3cm
photo courtesy GJ van Rooij



FLOTSAM, JETSAM, &
performance structure (with Koen Nutters, Seamus Cater, Gerri Jager, Tim Breukers)
photo courtesy Mattie van der Worm, 2015

Collaborative performance with DNK Ensemble (Seamus Cater & Koen Nutters) during Come Closer public program on Oude Kerk Rooftop, Amsterdam
installation 'The Garden Which is the Nearest to God' by Taturo Atzu, 2015
photo courtesy Roel Brekelmans












a Method for Blue Logic, 2014, 11' 2K DCP stereo looping film
Environment view, photo courtesy Roy Taylor, 2014
Review: Infinite Monkey Theorem – Metropolis M






Ghost Flowers – Herrmann Germann, Zürich



photo courtesy Showroom MAMA, Lotte Stekelenburg, Rotterdam























photo courtesy Cassander Eeftinck Schattenkerk, de Appel arts centre, 'Your Time is Not My Time' Amsterdam, 2015










Passengers, 2010 — ¿

Proxy, Or - Seventeen, London














What it is Without the Hand That Wields it, 2007
custom server and electronics

As gamers die in a public video game server of a modified version of Counter-strike, a popular online first person shooter, the electronic solenoid valves dispense
a small amount of fake blood. The trails left down the wall create a physical manifestation of virtual kills, bridging the two realities. The title references the
song of the same name by Telefon Tel Aviv.