Press and Essay Excerpts: For Heather Harvey,. . . history is more like a natural phenomenon, sweeping everything equally behind it with the forces of disorder and decay. Her sculptures and paintings express certain fundamental characteristics of social order such as networks, mapping, human agency, and the inevitability of change. Yet, departing from the scientific, analytic preoccupations. . .Harvey is interested now in the more poetic and oblique resonances. -Lawrence Rinder, exhibition catalog, MFA thesis exhibition, 2007 Equally evocative is the work of Heather Harvey. . . These plaster, wax and fiberglass works draw most of their inspiration, not to mention strength, from pure color. Yet it's their evocation of something not just liquid but suffused with light that makes these paintings succeed. It's not for nothing that one's called "Sky Pour." -Michael O'Sullivan, The Washington Post, April 25, 2008 Using gallery walls as the very medium she manipulates, her sculpture embeds itself in the skin of the space. Walls facing each other seem to have been kneaded and coaxed into seamless ripples, rainwater splashes, or undulating, concentric circles—as if the transformed flatness of the wall had been preserved as it was in the process of liquefying. Swells and dips in plaster applied directly on the gypsum boards render the hard surface of the institutional wall pliant and billowing under our gaze or nearly heaving and stabbing the air with shaped plaster as if the wall were slinging toward the viewer portions of its yielding self.  -Carina Evangelista, Gretchen Hupfel Curator of Contemporary Art, Delaware Center for the Contemporary Arts, 2009 Heather Harvey constructs terrains of a different sort: small plots of nearly transparent wax. Untitled (Blue) looks like a tiny chunk of sky cut out right above the horizon. Or is it a plot of ocean defying all known laws of physics? . . . Physically these wall-hung works inhabit a dimensional space between painting and sculpture. Metaphorically, they suggest sonnets to the natural world. -Joanne Mattera, exhibition catalog, Divas and Iron Chefs of Encaustic, 2007 Harvey’s gatherings of white plaster forms give priority to an earlier precedent for organizing things – like the “Big Bang.” -Ray Kass, Guest Curator, From These Hills, William King Museum, 2009 Harvey’s near-monochromatic wall installations are 90° tableaus of peculiar puddle or splatter-like forms that contain hollow stalactites and/or stalagmites.  These cylinders evoke the slow-motion sculptural effects of objects entering a liquid surface as an action of gravity, a vertically-oriented, downward force.  Transferred to the wall these forms suggest a slight vertigo; and, there is a tension between motion/gesture and immobile form. -Paul Ryan, exhibition essay, The Old Grey Whistle Test, 2006 Humor prevails. Amanda Douglas, Heather Harvey and Faridah Al Rashaid take shots at cultural expectations by presenting witty and irreverent versions of common objects. . . Harvey modifies wall and sometimes floor construction to create the illusion that invisible forces are reshaping the environment.    -Paulette Roberts-Pullen, Style Weekly, May 2, 2007