Gillian Holding | The Work
Statement
A fleeting sense of dissonance. A barely perceptible glimpse of the familiar out of context. A suggestion of something or somebody displaced or dislocated from ‘normality’. The crossing of boundaries, both of place and mind.
Assumptions falter or flounder. Fresh perspectives emerge, together with new possibilities of seeing and experiencing the nature of ‘reality’.
The resulting work by Gillian Holding is frequently figurative, allegorical and narrative. Inevitably, her initial expression of content assumes a life of its own, and through the inherent ambiguity of the imagery, is further transformed and developed in the light of the experience and context of the viewer.
The two-dimensional work is often finished with a highly reflective surface. Originally explored and developed as an aesthetic solution to the challenge of presenting digital painting with the saturated depth of colour of a computer screen or projection, it has also become a means of technically holding together a variety of delicate and mixed media materials. But most significantly, it plays an important conceptual role in her practice.
At one level, it references the digital world in which we live, where screens on televisions, computers, and any manner of electrical devices glow all around us. However, the surface reflectiveness compels us to move around to get the best vantage point from which to view, to avoid the glare of the room lighting, and to see the work in its entirety; just as we cannot perceive reality in real life without attempting to see all sides, and shifting our perspective. Our own shadows and reflections (and those of the people standing around us) are always present, integrating us and making us complicit in our own viewing of, and reflections on, the piece. Ironically, in this age of proliferation of the digital image, her work - even the digitally generated work - cannot be photographed or reproduced satisfactorily.
CV
Education
2009 Leeds Metropolitan University BA Fine Art (First Class Honours)
2006 OCA
Exhibition
Open exhibition, Barnsley, First Prize
2001-5 Open College of the Arts (painting levels 1, 2 and 3 all awarded ‘A’)
Solo exhibitions/projects
2011 Through the Veil of Orientalism (ed. DisegnoDiverso, Turin, Italy)
2011 Same Difference (Reprise) Etz Chaim Gallery, Middlesex
2011 Action | Reaction G2 Gallery, Solihull
2010 Same Difference South Square, Bradford
2008 Hubris and the City Fine Art Gallery, Leeds Metropolitan University
Group Exhibitions
2011 Headingley Arts Trail, The Bowery, Leeds
2011 On The Edge Arts Festival, Temple Works, Leeds
2011 Copy/Paste, Harehills Business Centre, Leeds
2010 Melange, Leeds Light Night
2010 South Square Salon, South Square Gallery, Bradford
2010 Headingly Arts Trail, The Bowery, Leeds
2009 Monsters in the Dark, Pavilion, Leeds Light Night.
2009 1:58 Leeds Met Arts Festival, Leeds
2007 'Dislocation' Leeds Met Gallery, Leeds
2006 Level One Exhibition, Leeds Met Gallery, Leeds
2001-2006 Various other group shows including Leeds Art Galleries summer exhibitions
Group/Community Projects
Leeds Millenium tapestry project 1994-2004
Wakefield Beam Project 2007
Published work
2011 Through the Veil of Orientalism (ed. Disegnodiverso, Italy)
2011 The Candle Building (A Visual Gazetteer) Artists' book project by Waymarking, Leeds
2009 Tel Aviv MRJ Siddur
2008 Three Boys Opera North programme
awards/prizes
2011 Shortlisted Woolgather Art Prize
2009 Historical & Critical Studies Prize, LMU