Harriet Middleton-Baker

Harriet Middleton-Baker (b. 1989) is a performance and visual artist interested in the representations of power in structural narratives. She works on long-term research projects that operate as umbrellas to growing series of performances, choreographic works, films, and writing. Her work questions who has power and why, as well as how we can understand power and try to reclaim it, with the hopes of bringing more awareness to the frameworks that dictate human behaviour. Middleton-Baker is interested in the way certain types of performance are utilised as demonstrations of power, and how those performances are received by our bodies. Her work is a means of getting closer to that power; to understand how it works, how it feels and how it exercises itself. She feels proximity to this kind of power is important as it otherwise relies on the elitism of distance. 

Exhibitions and performances include ‘The Conference’ commissioned by the Roberts Institute of Art, London (2022); ‘Civil War’, SITE Projects at Mimosa House, London (2019); The Company, Plexal Centre for Innovation (2018); ‘Gods, Monsters, Future’s Builders’,Yinka Shonibare’s Guest Projects, London (2018); ‘The War Room, an Opera!’, Cell Project Space, London (2018); ‘Touch Sensitive’, Guest Projects, London (2017); ‘Winter in America’, Mom’s Favorite, Los Angeles (2017); ‘The Sit In’, The Depot, London (2016). 

Middleton-Baker is part of the Jan Van Eyck Artist Residency programme (2023- 2024) and was artist-in-residence at The Koppel Project Hive (2017). 

Her work has been featured in Dazed, AnOther Magazine, Studio International, FAD Magazine among others.

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