Daley argues art and artist cannot be separated in case of Rolf Harris
Paul Daley cites ABC documentary and his own experience in London to contend that Harris’s predatory behaviour is inextricably linked to his cultural output.
Guardian Australia columnist Paul Daley has published an opinion piece arguing that the work of Rolf Harris cannot be disentangled from the artist’s history of sexual abuse. Daley, who grew up with Harris’s television programmes, contends that the entertainer’s public persona was a facade that masked a predatory nature, concluding that the art of such a figure is inseparable from the person who created it.
Daley recounts a meeting with Harris in London more than 20 years ago, prior to the entertainer’s conviction for sexual offences. The encounter took place at an event attended by many Australians, where Daley sought to thank Harris for the joy he had brought to his childhood. According to Daley, Harris responded with "studied, cold diffidence" and turned away, displaying an arrogance that Daley describes as a stark contrast to the wholesome image he had projected.
The article references the ABC documentary *Rolf Harris: Primetime Predator*, which details how Harris allegedly used his fame as a children’s performer to groom victims. Daley notes that while the documentary has recently disclosed the extent of Harris’s abuse of social leeway, rumours regarding his behaviour towards women and girls were already "legion" at the time of their meeting.
Daley, who was a child during the height of Harris’s popularity, recalls the entertainer’s significant cultural impact in Australia. Harris was a central figure in Daley’s childhood alongside *Play School* and *Mr Squiggle*, known for hits such as *Jake the Peg*, *Tie Me Kangaroo Down, Sport*, and caricatures. Daley also notes Harris’s success in the UK, including painting a portrait of the Queen and performing a rendition of *Stairway to Heaven*.
A journalist friend of Daley’s, who met Harris in London around the same time, described the entertainer as "a totally obnoxious, up-himself arsehole," a description Daley considers kind given the severity of Harris’s later crimes. The columnist concludes that while the separation of art from the artist may sometimes be possible, it is not in the case of Harris, whose actions turned fond memories into dust and trust into abuse.