Sotheby's Institute of Art, 2016, Writing for the Art World, Certificate of Completion
Like contemporary art itself, my oeuvre resists a singular defining theme or style. A protégée of the Vancouver School of conceptual photography, my practice is primarily photo-based, though also includes a diverse range of mediums including multi-media, installation, and text-based works. I work in series, each of which functions like a visual hypothesis, collectively demonstrating the myriad layers of complex inquiry that inform my practice. Themes include existentialism, feminism, humanism, atheism, and history. From these themes spring more in-depth, post-structuralist inquires reflected visually in series such as: critique of gendered language and feminist revisionism in How I Became a Feminist by Reading Nietzsche, self-awareness and woman’s issues in Repressions, photographic history and the development of consciousness in Origin of the Photographic Portrait, and historical revisionism in the Marie Antoinette series. My practice, like my own ideologies, spans both second-wave feminism, which focuses on raising consciousness of women’s oppression, and third-wave feminism, which embraces individualism and personal narratives, paying homage to the credo “the personal is political”. The authenticity in my work comes as a direct result of the correlation between my work and my individual identity as an artist, a woman, a feminist, an atheist, and an existentialist.
Holly Marie Armishaw graduated from Emily Carr Institute of Art and Design summa cum laude with a BFA in Photography in 2000. Her work has been exhibited and published in Canada, the U.S., France and Brazil. Canadian venues include Dazibao (Montreal), YYZ (Toronto), and the Presentation House Gallery (North Vancouver). Her first critically acclaimed series, Les Mondes Frax-4D, was published and graced the cover of a book by Editions J’ai VU (Quebec City), “Feintes, Doutes et Fictions: Reflections on Digital Photography”. She has used digital imaging as both a technical and a conceptual tool in her work since the cusp of the digital photographic revolution. During the inaugural Capture Photography Festival Holly exhibited her digitally composited self-portraiture series as a historical feminist revisionism of Marie Antoinette’s life, which garnered many positive reviews and simultaneously won an international competition with New Materials Art Fair for a solo exhibition during Art Basel Miami 2013. In 2015 Holly led a critical panel for Capture entitled “Women and Self-Representation in Contemporary Photographic Art” at the Museum of Vancouver. In 2016 her series “Repressions” was exhibited at Chernoff Fine Art. Holly is also an aspiring art writer and has contributed towards the critical appreciation of contemporary art through various positions, including her role on the Board of Directors of the Contemporary Art Society of Vancouver for which in 2014, she directed a week-long contemporary art tour of Paris. She travels frequently keeping abreast of the international art market and contemporary art trends through attending major international exhibitions, art fairs and biennales.