Lisa Holden

Lisa Holden, Digital photography, Fine art photography, Photography, Self portrait, Photography women, Portrait photography

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About Lisa Holden Lisa Holden’s photoworks combine two media that are frequently considered at opposite poles: the digital and the hand-painted. In her compositions, which sample imagery from early studio photography, classical painting and consumer culture, Holden balances digital and analogue media, new and traditional imagery, realism and fantasy. Frequently taking her own image as the starting point, the artist integrates the digital artefacts randomly generated by the repeated layering process into the final composition. An adopted child of South African and Austrian parentage, Holden grew up in Britain. Her multi-layered works explore her ongoing interest in themes of personal identity and constructed realities. She has exhibited in London, the United States and throughout Europe and has work in numerous public and private collections. Her work has been featured in various art and photography magazines and exhibition catalogues. Copies of Holden's latest artist book, The Bronze Room, are still available.

events

ART FAIRS AIPAD New York 2010 18-21 March http://www.aipad.com Contemporary / Vintage Works Art Chicago 30 April - 3 May http://www.artchicago.com Contemporary / Vintage Works Art Amsterdam 2010 26-30 May http://www.artamsterdam.nl/home_uk.htm Galerie Nieuw Untitled EXHIBITIONS TETE-A-TETE (yes, the accents are missing... my cms programme can't handle them!) 2-person show Lisa Holden & Jefferson Hayman Opens Saturday 13 February 2010 16:00 - 18:00 Galerie Eduard Planting, Fine Art Photographs Eerste bloemdwarsstraat 2 links 1016 KS Amsterdam E-Mail: eduard@eduardplanting.com Website: www.eduardplanting.com Writer Michael Dee recently wrote about my work. The article, will full colour images, is published in the Autumn issue of Norwegian photography magazine FOTOGRAFI. ONE OF MY LATEST PIECES IS MENTI0NED IN DUTCH MAGAZINE 'COLLECT Kunst & Antiek Journaal' November 2009. Here's a link to the article (it's in Dutch): http://a6.vox.com/6a01101665ab94860d01240b776c1e860e-pi Published November 2008 ‘The Bronze Room’, artist book November 2008 Dimensions: 6”x 9” / 30 pages / Hardcover ISBN number 978-90-813738-1-4

about

Here's the latest review on AIPAD NY 2009 by Ellen-K Sylverstad of Ellen-K Fine Art Photography: Contemporary Works/Vintage Works Ltd chose the British born, Dutch based multi talented and very charming Lisa Holden as their representative for the INNOVATION exhibition. I have no problems in understanding why. Her images are truly breathtaking. In her work, Holden integrates performance art, painting and drawing, lyrics, photography and video, and the digital manipulation of these combinations of art forms. http://www.ellen-k.no/?p=160#more-160 Holden billboards pixellation of her edges and other digital artifacts, which contrast sharply with the layers of paint she's applied, in her succession of layered rephotographing to achieve her final result. Thus, she celebrates the artificiality of the digital medium as the new techno-brushstroke. It seems an obvious development, but it took creative courage to bring it off, given the prevailing Photoshop ideology of concealing the process and imitating analogue film, if not 'reality'. Joel Simpson, Artshub, 2008 European artist Lisa Holden's work has been compared to that of such innovative and influential artists as Cindy Sherman, Pipilotti Rist and Tracey Moffat. But Holden's imagery stands apart with her interest in themes of identity and gender combined with fantasy and art historical precedents, as well as for her unique process that merges photography with painting and sometimes installation and performance art. The aesthetic effect of her process, which involves digital imagery and manipulation, hand-painted imagery, and re-photography, is perhaps initially the most recognizable hallmark of her work. The brilliantly artificial tonality and the pixelated “imperfections” in the final work coalesce with the unmistakably feminine and feminist subject matter to create art that is visually and conceptually complex yet also instantly appealing and recognizable thanks to references to Western culture as well as elements of contemporary design and consumerism. N. Elizabeth Schlatter, Focus, 2007 Despite the ultramodern mix of media, Holden's works are deeply rooted in art history. She layers content just like she layers colours, playing with codes and clichés from our collective memory. In recent years, she has found her interest in dramatic stagings and female bodies anticipated in 19th century paintings. (...) This fascination is reflected in her choice of subjects, but also in the elongated formats of some of her works, which resemble those of Edward Burne-Jones or Gustav Klimt. Another parallel is the atmosphere of sensuous lassitude that pervades many of Holden’s works – but never comes without a highly contemporary sense of isolation and fragmentation. Her Bathsheba might be a traditional female nude in a landscape, but her face is hidden behind a field of black colour, and the landscape is fragmented and flattened. Anneke Bokern, Eyemazing, 2007 (Holden's) references have changed from Central Europe to nineteenth-century British art, particularly that of the Pre-Raphaelites, which is so well represented today in the collections of the northern cities where the artist grew up. Likewise the two panels of Untitled (Reveil) – the very use of the diptych already conjures up the formal idiom of the Pre-Raphaelites - which show a female nude on the left, emerging from a wooded scene, her head concealed by what looks like packaging, while on the right the Romantic rock formation and dripping fountain complete the picture. She does not pass unobserved, though, in this ‘natural’ setting: in the left-hand panel she is observed by a tethered goat and a vague human figure (the goatherd?) behind it, and the right-hand panel also contains a human observer, silhouetted against the tree trunk on the left. Goats, whether depicted in the act of copulating or not, traditionally connote lechery. If we add it all up – the goat, the fountain, the naked female, the voyeurs – we are presented with an erotic narrative, but a narrative that is not told (...). We construct it, like a work of bricolage, by making use of certain elements contained in the work. But it remains a tale untold. Peter Mason, essay accompanying one-person exhibition, La Sala Reservada, 2005

contact

If you're interested in knowing more about Lisa's work, feel free to contact her directly at: STUDIO: info@lisa-holden.com or contact one of her dealers: USA Contemporary / Vintage Works www.contemporaryworks.net www.vintageworks.net anovak@vintageworks.net THE NETHERLANDS Eduard Planting Fine Art Photographs, Amsterdam www.eduardplanting.com info@eduardplanting.com Galerie New Untitled www.galerienewuntitled.nl info@galerienewuntitled.nl NORWAY Ellen-K Syverstad Fine Art Photography www.ellen-k.no post@ellen-k.no

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Lilith, Scarlet and Gold (Lilith series), The Knot, Twilight 2009, Wild Flowers 2009, Muse, Lamia (The Desert), The Lake (Lilith series), Bathers (Lilith series), The Poets (Lilith series), Lizard Boy 2003, Seed IV 2000, Seed V 2000, Liebe II (Danae series) 2007, Veil (Danae series), Rivals, Underworld, Bathsheba, Moving Finger, Garden (rock), Garden (tree),