Colour Of A Bruise

Laura Holmes (2000) is a London based artist, born in Norwich. Currently undertaking her MA in painting at the Royal College of Art, she obtained her BA in Fine Art from De Montfort University in Leicester (2021). She has shown work nationally with her most notable group shows at Leicester Gallery. Her work is held in collections in the UK, the Netherlands and Nigeria. She is represented by MAPA Fine Art.

Holmes’ practice currently revolves around a set of ‘Contradictions and Notes on Painting’: a list of thoughts on, and rules for, painting. This forms the basis of Holme’s show at Bermondsey Project Space.

1. I PAINT.

2. MY WORKS ARE PAINTINGS, AND NO FURTHER VISUAL DESCRIPTION IS REQUIRED.

Painting is a process of unearthing methods which can be used to investigate the relationships between bodies, where painting and the river are considered as bodies connected to Holmes’ own. These bodies heavily inform her current practice. Holmes’ painting involves a gathering process, and a metaphorical translation of things from an external environment to an intangible space within a canvas. Painting extends beyond the confines of the studio and has developed into a routine based on the rules that Holmes makes for her practice.

12. PAINTING INVOLVES WAITING FOR THINGS TO SEDIMENT AROUND ME. THINGS GATHER, I GATHER THINGS. (OBJECTS, PLACES, TIME, MOMENTS, PAINT) I LIKE RE-ANIMATING THEM.

Through this process, Holmes is better able to understand her environment, and build relationships between her practice and other external bodies. She has a particular affinity to the River Thames, and spends time drawing, painting, and walking there. This routine is painting itself. Holmes’ painting has extended beyond the confines of her studio.

9. EVERY DAY, I WALK TO THE RIVER AND TAKE PICTURES OF THE WATER.

15. IN THE STUDIO, I WEAR A YELLOW JUMPER.

Seminal to this process and routine, is an investigation into her relationship to paint. Holmes’ work is a collaboration with paint, allowing a symbiotic, parasitical, or dysfunctional relationship.

14. I AM IN AN UNHEALTHY RELATIONSHIP WITH PAINTING. ITS FEISTY. ITS MANIPULATIVE: SOMETIMES I WANT TO LEAVE BUT THE GRAVITY OF THE EUPHORIA OF PAINTING IS TOO STRONG.

Holmes has developed a philosophy within her practice. Whether this is a true, or false philosophy, is so far unknown.

5.MY WORK AND I EXIST IN THE SAME BODY.

7.PAINTING ITSELF MOSTLY EXISTS IN THE MOMENT IMMEDIATELY BEFORE PAINT HITS CANVAS. THE TENSION BETWEEN THE TWO HOLDS AN INFINITE POSSIBILITY.