Growing up, they both spent time trailing their parents around antiques fairs and bric-à-brac stalls. Tovey recognises this appreciation of art objects and antiques in Harris’s work – she often refers to objects and pieces of furniture her father has brought home over the years.

Tovey says: “These works nostalgically vibrate throughout all of her practice and the longer you stay with it, the more rewarding it feels. The ephemera of her childhood, which appear again and again as beautiful and striking motifs, are peppered throughout all of her renderings, positioned alongside what is deemed unsophisticated and domestic. What Rose achieves is to elevate the overlooked and everyday into a position of authority and pride, with a palette so vibrant it resonates with masterful colours favoured by the likes of her heroes David Hockney and Matisse.”

Fascinated by colour, line, shape, texture and pattern, Brighton graduate Harris isn’t concerned with portraying objects exactly as they are, but more how they make her feel ¬– her roomscapes feature objects from memory, some imagined and some collected over time. To her, a room is an oasis and the things within it are what bring it to life.

Tovey agrees: “Jugs and flower pots, chandeliers and free-standing baths all nestle in alongside curvaceous glass bottles and glazed ceramic objects on patterned tablecloths and stools, majestically still and held together in what feels like a celebration for the beauty of the everyday.”

For Tovey, Harris’s newfound confidence with scale is what is exciting him most about her current work. He says: “Following her Instagram and studio practice, we can witness the development of large-scale works which are starting to appear for Rose. Reminiscent of Betty Woodman installations and building towards the size at which Jonas Wood pushes himself to go, or Roy Lichtenstein would create his apartment interior scenes in, Rose Electra Harris is challenging herself, further honing her natural fresh exuberance when it comes to her use of paint and presenting a body of work that pushes beyond the traditional limitations of what the still life can be.”

If you’re as excited as Tovey to see what Harris does next, she hopes you can catch her in a solo show and residencies next year. Until then, she’s taking a step back to develop her practice. She says: “It is so easy to get caught up in saying yes to things, that you realise you have no time for yourself. It is something I have wanted to do for a long time and have never allowed myself the time to do it. My studio is amazing and the biggest I’ve had, so I’m really keen to work on some really large canvases, experiment more with oil painting and mixed media, relearn lithography and work on a series of large-scale woodcuts.”