In this exhibition Holloway addresses the cognitive context of sculpture, emphasizing that the meaning of art objects and the way they are understood resides in the viewers and the social networks around the objects, not the objects themselves.

Those familiar with Holloway’s previous work will recognize the artist’s attention to the formal vocabulary of sculpture and his subtle consideration of the relationship forged between his works and the viewer’s body. In much of this new work there is an even greater awareness of the figure as a way of connecting with the viewer’s human tendency to form associations of meaning and content to the most rudimentary figurative references.

Holloway’s work begins with his simultaneous reverence for and mistrust of Modernist sculpture. While twentieth century art historical antecedents such as Brancusi, Duchamp and Rauschenberg are important to reading his work, Holloway is more interested in expanding this set of references to include ancient ritual, symbolic form, and the occult. Moreover, his work rejects accepted notions of taste and a hierarchy of materials, blending simple, craft-like media with more traditional forms. The result is a combination of the visceral and cerebral.