The Intersection of Art and Math: The Work of Edmund Harriss

In today's world, the boundaries between disciplines like art and mathematics are increasingly blurred, and my friend Edmund Harriss is a prime example of this fusion. I met Edmund in Iceland over a decade ago. My husband and his wife have been friends since their teenage years, during a time when my husband lived in Iceland for a year.

On our first meeting, Edmund introduced me to one of his creations—a wooden sculpture nestled at the base of a volcano in Iceland's Westman Islands. This sculpture consisted of interlocking wooden parts, precisely cut by a machine programmed with mathematical formulas. It was a perfect illustration of how math (or “maths” as he calls it) can transform into physical art.

Edmund masterfully combines math and art, showing us that they can seamlessly integrate to produce visually appealing and intellectually stimulating works. As both an artist and a mathematician, he creates works that invite viewers to explore the intricate connections and structures of mathematical concepts, bridging the gap between the two fields.

He uses principles from fractal geometry, tessellations, and hyperbolic planes to create his art. One of his significant discoveries is the Harriss Spiral—a variation of the golden spiral. Look it up, it’s a thing.

Edmund’s work redefines the perception that math is a dry, purely academic field. His work proves that mathematical principles can inspire creativity, and open up new avenues for artistic expression.

In the art world, Edmund’s contributions serve as a reminder of the deep connections between different fields of study. Through his innovative techniques and intricate works, he invites viewers to see the world through a lens where art and math are not separate entities but deeply intertwined.