A digital studio visit and conversation with artist Loie Hollowell and Ballroom director, Laura Copelin, hosted by curator Daisy Nam. Laura and Loie first worked together in 2016 and in this intimate talk connected about motherhood, the body and abstraction in Hollowell’s painting and practice. This conversation coincided with the release of Hollowell’s new limited edition Milk Fountain (2021).
Loie Hollowell was part of After Effect, a group exhibition organized by Copelin at Ballroom in 2016 that featured immersive artworks in painting, sculpture, installation and film and ranged from the cosmic and psychedelic to the sensual and visionary. The exhibition looked at historical paintings and film from the ‘30s and ‘40s alongside works from contemporary artists including Hollowell that addressed notions of the sublime, touching on mortality, landscape, the body, and various modes of abstraction.
Milk Fountain, 2020
Ballroom Marfa is pleased to offer Milk Fountain, 2021 a limited edition print by Loie Hollowell. This work, in an edition of 30, continues Hollowell’s exploration of bodily landscapes and sacred iconography, using geometric shapes to move a figure or its actions into abstraction. Originating in autobiography, her work explores themes of sexuality, often through allusions to the human form with an emphasis on women’s bodies.
Proceeds from the sales directly support Ballroom Marfa’s exhibitions and programs. Additionally, 20% of sales will also benefit: West Texas Food Bank, Marfa Food Pantry, Marfa Nutrition Center, Fort Davis Food Bank and Alpine Food Bank.
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Loie Hollowell (b. 1983) uses line drawing as a point of departure, pushing personal or metaphorical depictions of the body into a lexicon of sacred shapes: mandorla, ogees, and lingams. She then sketches over her drawing in pastel, working out details of color and texture, which she then replicates in oil paint. The scale of her work also carries significance, relating to specific dimensions of the body-the head, torso, and groin. By using a language of symmetry and often limiting her compositions to a single axis, Hollowell intentionally slows the pace of her investigation, allowing her to expand on her motifs. With strong colors, varied textures, and geometrical symmetry, Hollowell’s practice is situated in lineage with the work of the Transcendental Painting Group (1938–41), Georgia O’Keeffe, Gulam Rasool Santosh, and Judy Chicago.
This program is made possible by the generous support of The Brown Foundation, Inc.; Lebermann Foundation; National Endowment for the Arts; Pace Gallery; Texas Commission on the Arts; Ballroom Marfa Board of Trustees; the Ballroom Marfa International Surf Club; and Ballroom Marfa members.