Lucinda Holmes' practice involves a searching, through making, for a moment of transformation where materials and formal elements are both what they are but also allow for, or possibly represent, something else. Working with drawing and paint, she creates compositions through an economy of means—finding space, or possibly meaning, while honouring the truth of materials and lines. Lines, marks, and activated materials exist at the moment of transformation, moving 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 physicality, gesture, a need for touch, a tactile truth. These marks suggest diagrams, landscapes—scenes and experiences remembered but not explicitly rendered. The configurations exist in a liminal space where suggestions of depth emerge and recede. Abstract forms threaten to resolve into recognizing images—a horizon line, an atmospheric recession—before retreating again into pure material presence.