Harrison’s work takes the form of subtle viral interventions as a means to both investigate and subvert natural, physical manifestations of the uncanny and the abject within the urban landscape. To be more specific: man’s relationship with nature, and the physical and linguistic man-made mechanisms that have been created to categorise encounters with unwanted, abject objects.
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[…] an uncanny effect is often and easily produced when the distinction between the imagination and reality is effaced, as when something that we have hitherto regarded as imaginary appears before us in reality, or when a symbol takes over the full functions of the thing that it symbolises. (The Uncanny, Freud)“

The notion of “specimen” itself: the articulate authoritative process of granting this title or role to a moment, place, individual or object particularly fascinates the artist. Therefore Harrison conducts an investigation of the individual, composite or heirachical subjectivity of the person, rule or collective of individuals that are considered themselves, to be both necessary or worthy of valuing an entity in this way. Consequently she examines the way in which this role is manifested when the categorisations of man/animal, pest/trophy and exhibit/specimen are broken down. In this way, Harrison’s work physically deconstructs the process, and conventions of preservation, pedagogic doctrine and taxidermy. Works such as “Columba Livia”: a taxidermied Glasgow city pigeon, preserved in order to look deceased, in front of the Kelvingrove Museum attempts a critique of the validatory structures of the museum through mimicking its conventions of display, to expose the subjectivity within the truths that it espouses.