Lucinda Holmes' practice searches, through making, for moments of transformation where materials and formal elements are both what they are but also suggest something else. Working mainly with drawing and paint, she moves between representation and abstraction, the familiar and the unknown.

Holmes' minimalist work embraces a removal of the self, allowing an otherness in—a space to dream and wander—yet there remains a human need for touch and tactile truth. These marks suggest diagrams, landscapes, scenes remembered but not explicitly rendered. Abstract forms threaten to resolve into recognizable images—a horizon line, an atmospheric recession—before retreating again into pure material presence.