Home for the Holidays

oil on panel

9" x 12"

(sold)

For Studio Gallery's consideration...

 A Double Batch of Frosting

oil on panel

14" x 18"
(sold)

 

Your Diet is Over

oil on panel

6" x 6"

 The Architect

(sold)

Here are a few more collages to add to the mix.  Now it's back to painting again for the new year!

 Love and War

 The Night Circus

The Hardy Boys Meet Death

 Diabolical

 I'm taking a little break from painting until January so I can play around with a bit of collage work.  These are all mounted on thick ply and clear-coated in epoxy for a glossy, hard surface.  They are all different sizes, but are approximately in the 7" x 8" range.  They are selling for $150 each.

 Hungry Mouths
(sold)

 Lion on Fire
(sold)

 Odalisque
(sold)

 Sanctuary

 The Arrival of Progress

 The Show Off
(sold)

 The Evolution of Design

 Turtle Surfing the Cosmos

Solace
(sold)

 Memories of Green

16" x 20"

oil on panel

sold

My current series of ocean paintings...

 Adrift

16" x 20"

oil on panel

sold

Waterline

16" x 20"

oil on panel

sold

 

 Secret World

16" x 20"

oil on panel

sold

 Salinity Now

36" x 48"

oil on panel

$4500

 Green Swell

16" x 20"

oil on panel

sold

Fathom

16" x 20"

oil on panel

sold

Under Nancy's Big Tree

oil on panel

1990

One of my favorite paintings finds a home after 22 years.  A few weeks ago I received an email from a woman named Naomi, asking if I was the same Denny Holland who painted the work above.  Seems she remembered it hanging in the law firm she worked in back in the 90's.  (At the time this painting was being rented out through the SFMOMA Rental Galley- it was one of my most popular paintings, having been rented out for a solid ten years until I got it back about five years ago.)  She was just starting out her law career and didn't have the money to buy the painting.  It hung outside her office and it left after three months.

At a recent event at the Rental Gallery (now called the Artists' Gallery), Naomi asked the staff if they knew of the painting and who the artist was.  The painting was still on her mind after all these years.  Fortunately, she spoke with someone who's worked at the gallery long enough to remember the painting based on Naomi's description.   It was the tree branch notched into the corner that sparked memories and brought things into light.  After an internet search, a few emails, and a lovely two hour studio visit, I'm happy to say this work has a new home. 

A lot of my work that is sold is gone forever, there are pieces that I will never see again.  However, I'm glad that this one- a very special painting to me for various reasons- has found a home in San Francisco with a wonderful young family who will enjoy it.  There's just something comforting in knowing that this painting is only about six miles from here and close by.

"The cities are still down there, of course- the buildings, streets, grocery stores, schools, all of that.  We glide silently overhead with our big ships the way airplanes would pass over us, before all of this.  Now we leave wakes instead of contrails and rake long shadows across the submerged topography.  The skies were replaced with water- slowly at first, then with maddening speed- as the relentless rains purged and the oceans’ surfaces rose to new, unbelievable heights.   Sometimes I dream of the people who didn’t make it to the ships, still in their houses, deep below the light’s reach. I can feel it in my sleep, when we’re above them, the whole cities, countless suburban clusters, and rural farms, which now exist nearly a mile below. I live my life on the surface, floating over an invisible landscape that is now home to several million ghosts."

Exerpt, The Chronicles of Petroleous 

 

A New Light

As the finishing sections are attached to the hull, the ship takes on a more architectural presence, adding a whole new dimension and changing the way I want to finish and present this sculpture. April and I had a great discussion this afternoon on the beauty of allowing light to penetrate the skin and illuminate the bulkheads and becoming an integral part of this piece. My original plan called for a hull that was to be opaque in finish, something like an antique steel or bronze finish. The cityscape on deck was to be covered in dark, oily blacks and charcoal which would fade, dripping into the hull's finish. April's brilliant plan of keeping everything white and light (like a ghost ship) totally turned my thinking around on this. At this point, the plan now is to white-wash the hull so it's still transparent enough to see the hints of the substructure and allow for light to travel through. Also, the color of brass rivets will still read and won't be covered by multiple layers of paint. The ship will then be displayed on some sort of light table that will illuminate the hull and its skeleton- something that I will enjoy designing and building as an extension of the ark. The ship will "float" an inch or so above the lighted surface (with clear plexi supports), hopefully giving it the appearance of levitation. The big job still lays ahead, building my metropolis and finishing the whole thing by October's show. Oh, and having ten water paintings done as well.