In this body of work space is made and unmade. In consideration of the historical relationship between painting and architecture, Holms’ practice asks what it means to apprehend and navigate through civic and domestic space. Systematically collapsing inhabited geographies, her work examines how space is materialized and organized. Mining spaces that she encounters online and in the everyday, Holms volleys formal devices such as color, texture, light, physicality, and depth into the territory of abstraction. Incorporating a sensitivity to pattern and architecture, her work recomposes the quotidian in order to demonstrate how space operates as practiced place. Constructing synthetic environments that divest from direct quotation, this body of work translates built forms to manufacture spatial arrangements which exist somewhere between the occupation and vacation of space.
Colliding incongruent economies of space, this body of work grapples with our fraught relationship to the built environment. Organized around a logic of contradiction, Holms conflates divisions of public and private in ways that undermine the production of space as a series of containers. The strategic displacements and dislocations in her work shift ordinary representations and materials away from their intended forms in an attempt to undo the ways in which space is conventionally structured. Charting economies of civic and domestic space, this body of work disrupts the boundaries between the here and now, and the then and there.