My cut-out works generate cut-out stencil detritus that I employ in combination with digital prints to make rubbings, embossing and etchings in metal. For Apparitions, using my stencils as the 'background layer', I rule pencil or pigment pen over digital prints to create rubbing drawings that translate negative space into braille like information, rendering the absent, present. The pixelated cut-out below the digital print is brought to the surface, presenting two reproductions on one plane.

"Caroline Jane Harris sets technological processes in unpredictable motion. And where Pratt uses a different starting point each time, Harris often uses one work as the direct generator of the next. She employs all manner of technical processes to expose and explore the digital aspects of such quotidian views as the veiled tree which was the starting point for 'Afterimage'. Caroline laid the digital print over a hand-cut stencil to make horizontal rubbings with white pencil, rendering the absent present in a ghostly work which reads like a palimpsest of screen decay. The tree emerges as the cut-out stencil, at once concealing and revealing its material history."

Quote from curator Paul Carey-Kent for the exhibition Forms of Autonomy, 2020