Jordan Holms is an interdisciplinary artist who works primarily in painting, sculpture, and textiles. She has exhibited internationally in the United States, the United Kingdom, and Canada and her work is held in multiple private collections. Her work has been included in two solo exhibitions at Marrow Gallery, a group exhibition at the de Young Museum as well as SFMOMA Artists Gallery, featured at BAMPFA, and in Adidas’s San Francisco Market Street storefront. Most recently, Holms was a recipient of the Vermont Studio Center Artist Grant, where she was an artist-in-residence in February 2020. She is also a 2016-2019 recipient of the San Francisco Art Institute’s Graduate Fellowship Award. She earned a Bachelor of Fine Arts in Critical and Cultural Practices from Emily Carr University of Art and Design in 2015 and a Master of Arts and Master of Fine Arts from the San Francisco Art Institute in 2019, where she graduated with honors. Holms lives and works in between San Francisco, California and Vancouver, Canada.  
Space is made and unmade. Grappling with our fraught relationship to the built environment, my practice examines how space is materialized, organized, and made to mean. Mining sites that I encounter online and in the everyday, my work unsettles the prescribed distinctions between space and place. My work also takes into account objects that are coded in ways that produce space: decorative moldings; cement barricades; period furniture; wire fences; wallpaper; traffic signs; upholstery; pylons; venetian blinds. The things we find in our homes and out in the built environment that signal something about how that space makes meaning. In order to arrive at more nuanced definitions of space, I translate the associative properties of these materials – their colors, shapes, and textures – into abstract planes and forms.
Fluorescent colors are especially prominent in my work because of their authority. They are instructional colors that signal how bodies can, and cannot, move through the built environment. Stripes and grids are important parts of my vernacular as well. Not unlike fluorescents, they are architectural means of policing how bodies are regulated in space. The duality of these aesthetic elements in my work is significant in the sense that, historically, they have operated as signifiers of both power and oppression in material culture. My work intends to trouble their authority by collapsing seemingly incongruent economies of space in on one another.