Magnetic Atlas

This body of  work was commissioned by 20-21 Visual arts centre and funded by the Arts Council. First shown at St Johns church, Scunthorpe, UK  in January 2014, the site specific film installations Ordinalia, Huldra and The Sleeper Falls were made for the chancel and bell tower of the church. Currently on show at the Sheffield Institute of Arts Gallery (SIA) at Sheffield Hallam University until December 11th 2016 and touring to Grimsby Minster in Easter 2017.

see film of Magnetic Atlas installation at St Johns

Ordinalia

12 ships lanterns and railway lamps are free hung into the Chancel of St Johns Church. Three central lanterns play a synchronised film triptych exploring themes from the apocryphal miracle play ‘Ordinalia’. Fragments of film portraying environments which hold a sense of the miraculous and symbolic surround them.

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Huldra

A 3 screen synchronised film exploring the theme of the guiding light and what can occur when we loose our way or are mislead by an illusion. The film takes its title from the Scandinavian folk tale Huldra, she is a spirit that dwells in the winter woods and leads her victims deep into the forest until they are lost forever.

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The Sleeper Falls

This single screen film made for and projected into the bell tower of St Johns church. Cine film, still sequences and digital footage are interwoven and layered. In the work we see a dreamer move through the forest and seemingly float through a vortex of brick and trees to the top of the tower to retrieve an egg from a nest.

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Charged Vessels & Infinite Bodies

This series of photographic images done from 2006-2010 evolved from a residency at the Baaken Museum and Library of Electricity in Minneapolis
in 2006. They are on show as part of the Magnetic Atlas site specific installation at St Johns Church 20-21 Visual Arts centre in Scunthorpe till January 2014

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Hineingrabe

Commissioned as part of the Rossendale ‘Valley of Stone’ project, this video was screened at Horse and Bamboo Theatre in December 2008.

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Resurrection Stories

Commissioned by the Djanogly Gallery Nottingham 2005

This major exhibition at the Djanogly Gallery consisted of a three-screen video in the main gallery space, and an installation of 5 still image projections in the second smaller gallery.

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States of Matter

Commissioned by the Folly Gallery, Lancaster 2004

This exhibition consisted of a series of eight photographic transparencies ‘Electro-Light’, and the video installation ‘The Almond Tree’ Part ii.

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Eye of Heaven

This series of photographic works consist of three parts. Each part contains six images. Part i was shown at The Graves Art gallery in 2002 as part of a group show, ‘Surface’. These six large digital prints each measure 1m x 1.2 m.

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Magic,Murder and the Weather

Commissioned by Leeds Metropolitan University Gallery 2001

The installation ‘Magic Murder and the Weather’ was made for the upstairs gallery space at Leeds Metropolitan University gallery in 2001 and has subsequently toured to several venues in the UK. It’s concerned with the portrayal and interpretation of three folk tales; ‘Ashputtel’, ‘Bluebeard’, and ‘What Came of Picking Jessamine’. Three sets of nine images are presented as backlit photographic colour transparencies. Within each of these transparencies are smaller transparent photographic inset images and this layering of image aids the intention of an implied narrative unfolding on a stage.

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Vessel

Commissioned by Photo 98, as part of the Year of the Photographic and Digital Image, and sited at the Mappin Art Gallery in Sheffield.

This installation utilises the photographic medium and processes combined with assemblage and collage. Sharply defined, richly coloured photographs are presented on back illuminated transparencies and free hung end to end down the centre of the gallery to create an illuminated pathway. This escorts the viewer along the darkened gallery, as if through a narrative but one without a beginning or an end.

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The Twelve Keys

Commissioned by and shown at the Crossley Gallery, Dean Clough, Halifax.

In this installation, Twelve window frames from Truro Works, an old cutlery factory are free-hung in front of photographic transparencies, objects such as scissors, keys and hair, which in turn are hung in front of individual lights, used to illuminate, cast shadows and draw the viewers attention to specific points in the work. The colour transparencies vary in size and are sandwiched between glass, akin to magic lantern slides. The light is instrumental in creating the effect and atmosphere of the installation, bringing some objects sharply into focus and distorting others - affecting a metamorphosis which reflects the nature of both the objects used and the content of the transparency images.

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Green Earth’s End

Commissioned by The Walsall Art Gallery 1994.
Shown at Leeds Met Gallery in 1995.

In the space were three sets of triptychs of photographic panels containing life-size images of a male and female in tall rye grass. (Holland grew the rye grass and it was left to reach its maximum height before being harvested) Behind these were encaustic (coloured and melted beeswax) panels which added colour to the panels and the heat from the back lighting added a further smell of beeswax and honey. There were also three sets of triptychs presented on light boxes which contained Ilfochrome transparencies; one set of figures, one of frogs and one of snakes.

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Mortal Remains

Commissioned by the Untitled Gallery (now Site Gallery) Sheffield 1992

This exhibition was Holland’s first major solo show, occupying all four of the gallery’s exhibition spaces. Collage pieces were shown alongside photographic work; however, photography played an increasingly important part.

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