Regina Hackett
Seattle Post-Intelligencer

Christopher Harris likes to photograph land as heat and light harden the the horizon line into an abstraction. Using a pinhole camera and a long exposure, Harris found the beautiful bones of elementary form underneath the realistic surface of the Palouse hillsides on the southeastern edge of Washington state.

His photographs look like paintings, especially his larger, unframed photos, the chromogenic prints sealed to a shine and set off from the wall with aluminum supports. With this series, Seattle’s Harris (no relation to Lisa Harris, owner of the gallery in which he’s showing), has more in common with abstract painters such as Anne Appleby that with anyone using a camera.

And yet the leached intensity of his colors comes from actual light. The double bands of pink in a white field might be the last thing a skier sees, lost in a snowstorm, and the green swell at the bottom of a billowing blue is a rise a traveler might climb for a better view.