Interview With Winning Artist Sharon Harms
Congratulations to Sharon Harms for earning her place as the 3rd Place Winner of the Boynes Artist Award 12th Edition!
Who are you?
I grew up in rural Michigan in the 1960s, before computers and cell phones. With only three TV channels—and parents who kept screen time limited—I spent hours making all sorts of things by hand. I was good at drawing and painting, which became my escape. At the age of 16, through a high school co-op program, I was given the opportunity to apprentice in a graphic design studio at a large printing company. That job launched a 47-year career as a graphic designer and art director, mostly in advertising agencies. I never went to college, but I worked all over the country, won awards, and learned to communicate ideas through visual storytelling. When I retired in 2020, I returned to painting full-time. My years in advertising gave me tools I still use: composition, clarity, and a deep respect for the power of imagery.
“Anatomy Lesson”
Oil on Linen
By Sharon Harms
What inspired you to utilize painting as a medium?
As a designer, I loved creating striking visuals for posters and displays, aiming to grab attention and spark emotion. Painting feels like a natural extension of that, but it’s deeply personal. Unlike commercial work, which is collaborative and digitally produced, painting is just me and my vision. After decades behind a computer screen, I craved the tactile process of making something entirely by hand.
“Escape”
Oil on Linen
By Sharon Harms
How would you describe your work?
I create hyperrealistic narrative still lifes that are both intuitive and highly precise.
“Don’t Reign On My Parade”
Oil on Linen
By Sharon Harms
Can you discuss the inspiration and thought process behind your winning work?
My painting In Search of the Muse began with a small plastic deer figurine with its gentle gaze and graceful lines. Animal replicas are strong symbols that can evoke all kinds of feelings. At first, I tried pairing it with other objects, but nothing felt right until I placed it on a higher platform. Seen from a low angle, it suddenly took on a noble, almost majestic quality. That discovery set the stage for a pyramid of objects—typewriter, dictionary, and carrying case—that could act as a pedestal.
I try to keep my process intuitive. I don’t always know what a still life is about until it’s complete. But I choose objects that feel charged with symbolism. Sometimes I only understand the connection later, the way you do with dreams. That mystery is part of what keeps me painting.
“In Search Of The Muse”
Oil on Linen
By Sharon Harms
Can you walk us through the technical steps of creating your winning painting?
Once the still life was set, I made a full-size drawing and transferred it onto a canvas pre-stained with a warm gray. I painted a tight transparent underpainting, which took several weeks. From there, I painted in layers starting with the background, then each object one at a time, often in two or three passes to refine the details. The painting took about eight months to finish. I used a semi-matte varnish after it dried for about five months
“Everyone Thought frank Was A Company Man”
Oil on Linen
By Sharon Harms
What do you hope to communicate to an audience with your work?
My still lifes use objects to express ideas and emotions in a visual language that leaves room for interpretation. I hope people see their own thoughts and memories reflected in the work, drawn in first by the detail, then invited to consider the meaning.
Can you talk about your biggest learning experience during the process of creating your work?
I quickly learned that oil painting is more technical than I imagined. I’m still refining my approach and trying to honor best practices, but every painting teaches me something new.
“I Give Up”
Oil on Linen
By Sharon Harms
Can you discuss your biggest success since starting your artistic journey?
Selling my first painting in 2022 was a turning point. It showed me my work resonated beyond friends and family. Without gallery representation yet, I’ve relied on online exhibitions and competitions to build credibility. Being accepted into respected shows and exhibiting alongside accomplished artists has been deeply rewarding.
“The Illusion Of Shame”
Oil on Linen
By Sharon Harms
Can you give us the best piece of advice you have ever heard/received?
An ad agency mentor once told me: if something doesn’t work out, starting over is an opportunity to create something even better than I imagined to begin with. I carry that into painting every day.
“Object”
Oil on Linen
By Sharon Harms
As a winner, do you have any advice for artists who want to apply for awards, competitions, residencies, etc.?
Rejection is part of the process. One jury may pass, another may embrace the same work. Keep submitting, keep trying.
“Our Differences Don’t Seem To Matter Much”
Oil on Linen
By Sharon Harms
What projects are you working on currently? Can you discuss them?
I’m working toward a solo show planned for late 2026. The work is a continuation of my series of narrative still lifes.
“Set Yourself Free”
Oil on Linen
By Sharon Harms
What is your dream project or piece that you hope to accomplish?
I recently completed my largest painting to date at 60 x 48 inches after working on it for more than a year. I’d love to keep working at that scale, but I’ll need to find ways to speed up my process.
“Pull Yourself Together”
Oil on Linen
By Sharon Harms