Jo Holland

Darkness of the Unknown #1
© 2018 Jo Holland

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Jo Holland works with photography, but unlike her contemporaries she doesn’t use a camera. Her intriguing process of camera-less photography involves literally a gathering of light onto light sensitive paper.

Holland’s work is remarkable in both its technical innovation & its subject matter, fusing art with science to create her unique works in search of an object’s spirituality.

Holland has been widely exhibited in the UK and Internationally.

Her first major show was ‘Touched by Light’ in 1994. This was followed by two camera-less photography exhibitions in 1995; ‘Heavens Embroidered Cloths’ at The National Museum of Photography, Film & Television, Bradford and ‘Possibilities of Extension’ at Aspex Gallery, Portsmouth.

Lisa Moran, Exhibition Curator, Aspex , writes: “…there is an investigation into the notions of truth and beauty …her work directly pertains to the relationship between seeing and understanding; and also to the photographic eye, which is known to have altered our way of seeing. It is important to recognize that none of the images created can be seen with the naked eye…”

In 1996, her work was selected for ‘The Orange’ Collection in the Museu De La Traronjo, Spain; The Royal Photographic Society’s 139th International Print Exhibition and for The Mag Collection where Paul Wilson, private collector, bought two unique works from the ‘Eyne Series’ to be featured in the book and associated touring show: ‘History –Image Based Art in Britain in Late 20th Century’, 1997-8.

Solo shows since then include: ‘Inflorescence’ for the year of photography 1998 at Dean Clough Galleries and ‘Florescence’ at Leeds City Art Gallery, 2002.

Nigel Walsh, Head Curator at LCAG writes: ‘…As a process its demands are such that the artist must reject many of the resulting images in search of the image that captures beyond the essence of the object, combining serendipity with pre-determination. In working this way we see ‘nature’ from an alternative perspective – one that heightens its fragility and vulnerability and ultimately the ‘strangeness of the subject.’
Studios of Jo Holland

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