Martie Holmer has been making art since she could hold a pencil. Her paintings and sculpture have been exhibited in galleries and museums in New England, New York, and upcoming in Rome.
Calligraphic line work characterizes much of her work, be it in painting or in the sculptural forms she made in work of the 1980s and 90s. In earlier works it was seen in her drawings with marks which rely on the power of a line to transmit a feeling or gesture. In the 1980s she studied Chinese calligraphy with a master calligrapher, who was briefly in residence in Boston, after which her interest in line became even more pronounced. Sculptural works began as calligraphic gestures, but later were translated into wood and other materials, bringing along the feeling of the original black and white drawings and ink paintings.
As a fine artist, Holmer has always been interested in the tension between the systems man has created to describe and understand phenomenon in the natural world, and the variations that are part of all natural and living things. It is this endless variation that has interested her, as well as the transient nature of most materials. Therefore, she has often made works only meant to last a short time, reusing parts of other works and celebrating the impermanence of work, thinking of those works as part of the process of memory and experience in time. Her interest in this also stems from a love of music, her studies of jazz and her musical compositions.
Below, see the calligraphic installation in 1990 in Civitella d'Agliano, Italy, where impermanence and calligraphy meet. Current works follow this theme as well, and a return to earlier ideas of installation as a performance in space.
Civitella d'Agliano, 1990 installation, and below, the beginnings of Luminous Ephemera, 2016
Copyright © Martie Holmer. All rights reserved.