Lisa Holden is a British-born artist based in Amsterdam, the Netherlands. Her earlier visual work explores notions of the self as a series of estranged identities-guises adopted and appropriated, and dependent upon context. Holden has been integrating performance art, painting and drawing, photography and video, and digital manipulation of these combinations of forms in a manner that is clearly advancing the parameters of art photography and creating a new art methodology/language in the process.
She combines digital imagery with hand-painted layers to create 'parallel realities', referring to the exploration of displacement, adoption and the reinvention of identity as a necessity for survival. Holden's large-scale, 'digitally flawed' painting-photographs interpret and react to our super-fast-paced, technologically driven society. The result is the artist's depiction of a psychological spiral into more personal fracturing of identity, multiple transformations, and a more isolated self and society. New works clearly bear the stamp of Holden's interest in Victorian painting and literature, which often illustrated richly colored fantasies and hallucinations.
A work is created first on the basis of footage shot by the artist (using either a digital still camera or a digital video camera) and is often based on and documents a separate performance art event. The artist frequently takes her own image as the basis of the image. Integrating the digital artifacts randomly generated by the repeated layering process noted below into the final composition, her portrait becomes obscured, iterating the artist's ongoing interest in notions of identity, alternate personas and constructed reality.
In the process of making the composition, the artist prints out the image on photographic paper and draws and paints on it, then scans the hand-manipulated image back into the computer. Parts of this hand-painted image are then integrated into the composition on the computer, often combining early classical paintings into the composition. This process of combining the hand-painted and the digitally-painted sections is repeated--often multiple times. There are often as many as 30-40 digital layers. Then, when the artist feels the image is more or less finished, she has it printed up at full scale, which is often several meters in size.
In her latest series, Holden explores the myth of Lilith. To some, mythological Lilith is the beautiful bearer of disease and death. To others she is Lamia, seductress, stealer of children. She is also Adam's first wife. In today's turbulent times, the myth of Lilith seems an apt starting point. Taking myths surrounding feminine icons like Lilith, Lamia and Danae as her inspiration, Holden's latest body of work explores aspects of duality: beauty and destruction, the flesh and the spirit, order and chaos. This juxtaposition of opposites is echoed in her multi-layered compositions, which sample imagery from early studio photography, classical painting and consumer culture. The final pieces blend analogue and digital imaging, photography and painting where Holden exploits her media and materials to full potential. Integrating the digital artifacts randomly generated by the repeated layering process into the final composition, her portrait becomes obscured, iterating the artist's ongoing interest in notions of identity, alternate personas and constructed reality.
Holden's work is represented in a number of museum and corporate collections, including the Peabody Essex Museum, Salem, MA; Sammlung Land Tirol (Austria); GasUnie (NL); the Dutch Ministry of Foreign Affairs; AKZO NOBEL (NL); ABN; AMRO; and Interpolis.
A selection of Holden’s work was also chosen for use on the cover of the Dutch translations of the novels of 2004 Nobel laureate Elfriede Jelinek.
Holden has also had work presented at many international art fairs, including Art Miami, Paris Photo, FIAC, Artissima, Art Brussels, Photo LA, AIPAD Photography New York, AIPAD Photography Miami, Art Chicago, RAI Amsterdam and Art Rotterdam.
The Focus magazine article compared her to the likes of Cindy Sherman and Tracey Moffatt, while maintaining that "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."
Holden's work is made on a large scale. Most of the images are available in 30 x 40 inch paper versions (her smallest size), larger sizes in Diasec mounts and/or as very large unique painted pieces mounted on aluminum with a UV laminate.