White Dahlia is a small, close cropped study in oils, created using a minimal palette of just 4 pigments. Built up with multiple layers of glazes to form depth and richness, and a smooth finish reminiscent of the velvety petals of the flower itself. This piece is part of a triptych - E7 Minis - three small canvases depicting a Dahlia, Chrysanthemum and Rose, flowers grown and found in my East London neighbourhood, where plant-life enhances the urban surroundings from community planters, shared gardens, windowboxes and porches. I found myself drawn towards the soft white flowers which were subtly highlighted with a bold flash of colour, giving life and brightness, and standing out in their grey surroundings. These pieces represent the empowering beauty of community and the value of investing in your local environment; a simple act that can bring so much. The canvases are 4cm deep, and finished with deep Vert de Gris surrounds, designed to hang unframed.

Dom Holmes

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My paintings are primarily concerned with themes of nature, in particular as a vehicle for exploring spirituality, identity and ego. My work is constantly developing through different techniques, methods and inspirations; my oil painting practice evolved from a period of self-directed study beginning in 2017, and has led me to my principal focus of traditional fine art methods of painting and print-making, and subverting lowbrow art forms inspired by their career in tattooing and design. My strong ongoing interests lie in minimal colours, depth and darkness, ego and sensuality. I collect images and references from my local environment - from community planters, neighbourhood gardens, open spaces, council-run parks, roadsides and windowsills - and elevate them in extreme close ups and large-scale depictions against deep, dark backgrounds to highlight the value and importance of local, seasonal wildlife and community in times of climate crisis. My home city of London is an important influence to my chosen subject. My pieces are built up with multiple layers of oil glazes using minimal pigments and tones, culminating in a velvety surface interrupted with purposeful, smooth brush strokes. The close-cropped compositions determine the power and strength held by the subjects often considered soft and delicate. The evolution of the colour schemes and textures is allowed to emerge naturally through the layering of glazes, and subtle abstractions evolve organically from the figurative depiction. The final layers determine and solidify the textures, mood and depth.  My approach to my paintings is inspired by a diverse roster of creatives and movements that testifies to my passion for art history, including (but not exclusive to) Carravagio, Eugene Delacroix, Ernst Haeckel, Hokusai, and Georgia O’Keefe amongst many others.