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From A Distance


Abstract paintings

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From A Distance


Abstract paintings

The Exhibition

Over the last century, man’s impact on the Earth’s makeup has become ever more pronounced. With rising levels of carbon emissions, as well as industrial pollution caused by the mismanagement of natural resources, we have arrived at a critical stage in the Anthropocene epoch where awareness to the issues is more salient than ever. In keeping with Holland’s desire to raise awareness to important socio-political themes, From A Distance encompass 20 abstract oil paintings that aim to illustrate the dramatic impact we have made on our surrounding environment, inspired by aerial photographs.

Like many of her contemporaries, Holland favours working from second hand imagery which allows artists to explore the world from an unconventional perspective. The idea for this exhibition came about a few years ago when Holland came across the work of artist and photographer Daniel Beltrá and his well known photographs of the Deepwater Horizon oil spill and global warming in the Arctic amongst other collections.

In the same year, Holland had also discovered the gloss paintings of Australian abstract artist Dale Frank. He would often speak of his work as scientific experiments in which he established ‘at least twelve responses and reactions that I have been able to observe and replicate on demand’. She began experimenting with industrial paints in Leeds while working on a couple of abstract commissions and observed similar entropic qualities to those Frank spoke of. 

The use of industrial oil paints throughout the works is designed to act as an allegorical reference to the industrial scars caused by mankind's interference with nature, thus embodying a microcosm of the subject matter that inspired the artist's work.

'' I wanted to create works which not only represented the human impact on the environment but were in themselves a document of the physical and material forces which influence the world around us. Playing with oil enamel paints and their low viscosity allowed me to mimics the biomorphic patterns of our oceans and lands as they form and un-form, dissolve, harden, wrinkle, crack "

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Altered egos


Altered egos


In combining photographic and painted code I attempt to merge these outward and inward parameters of the self. By imposing the limitation of a single reference image I am able to focus more energy on how I am painting something, rather than on what I am painting. The works seek not to address notions of one’s ‘alter ego’ so much as to express the multiple facets of one’s ego or persona explicitly through photograph and expressively through a multi-layering of forms, thereby creating personal moments through these abstractions which expose the fragility and instability of our seemingly linear reality.
— Artist's words
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Human Shields


Human Shields


My portraiture series entitled ‘dreams of a child’ is based on a single internet­ sourced image of a child victim in Gaza. The works are not intended to incriminate either Hamas or the Jews, as a more general reading of the work is encouraged. Religions arise from people’s quest for spirituality and inner peace; therefore it is a false essence of spirituality which justifies any violence as an honouring of love and peace. I chose to depict a child as symbolically, a child is devoid of social conditioning, unlike an adult. It represents purity of thought, of heart and of intent and hence conveys spiritually motivated violence in its most devastating form. A bold and expressive palette makes poignant the vibrant energy and life­-potential of the child who faces his death. Yet, somewhat ironically, it is the child that will never be able to realise its dreams who can be seen to be undergoing a spiritual experience.’
— Extract from The Mdina Cathedral Contemporary Art Biennale Catalogue