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.
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.
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.
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.
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.
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.
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.
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.