Misha Harrison is a Wollongong-based artist working across sculpture, painting and textiles. She completed a Bachelor of Creative Arts majoring in sculpture and textiles at the University of Wollongong in 2015, graduating within the top Iive percent of her faculty, before completing First Class Honours in 2016.

Harrison has received numerous awards and residencies including the NAVA Graduating Student Award, Hazelhurst Artist in Residence, the Liz Jeneid Textile Prize, and was selected as a finalist in both the North Sydney Art Prize in 2016 and the St Columba’s Art Prize in 2026.

From 2020–2023 Harrison exhibited regularly with Sydney Road Gallery, presenting solo exhibitions and participating in numerous group exhibitions. She has also exhibited with Corner Store Gallery in Orange and was awarded the Jumbled Art Superstar Award in 2022.

In 2025 Harrison co-founded Good Work Gallery, an online gallery representing emerging and mid- career Australian artists exhibiting at Affordable Art Fairs nationally.

Harrison’s practice explores materiality and process through the genre of still life. Each work begins with real-life arrangements of flowers, drapery and everyday objects, which are translated into layered, hand-cut plywood compositions. Every element is cut, carved, painted and embroidered by hand, bringing together sculpture, painting and textile practices.

In a world increasingly dominated by the readymade and mass production, Harrison’s work is an ode to craftsmanship and the handmade. Central to her practice is the belief that handmade objects carry something of the maker within them — every mark, imperfection and decision becoming
embedded within the final piece.

This philosophy was shaped through Harrison’s connection to the ideas of William Morris and the Arts and Crafts Movement, particularly the notion that mass-produced objects lack soul. Through labour-intensive processes including cutting, sanding, carving, embroidery and painting, Harrison
transforms plywood — a materially ordinary construction surface — into intricate assemblages rich with colour, texture and dimensionality.

The contrast between traditionally masculine woodworking techniques and historically feminine textile practices is also central to Harrison’s work. Strength and softness, structure and delicacy, labour and ornamentation exist simultaneously within each composition.

Reminiscent of a jigsaw puzzle, each artwork slowly reveals itself piece by piece through an intuitive yet methodical process. Harrison embraces the tension between control and chaos, precision and imperfection, viewing the process of making as equally important as the finished
result.