This weekend, Loie Hollowell helps to inaugurate PaceGallery’s astonishingly vast new Chelsea headquarters alongside David Hockney, Fred Wilson, and works by Alexander Calder and the photographer Peter Hujar.
Pulsating with geometric forms in shades of orange, teal, eggplant, red, and green, Hollowell’s compositions announce themselves first as intriguing formal exercises—extended meditations on shape, symmetry, and juxtapositions of hue—only later revealing their shared preoccupation with the human body. “They’re really just my body in different positions,”says the artist. “I use the five elements: the head, the boob, the belly, the vagina, and the butt.
The body has long been at the center of Hollowell’s artistic practice, including when she was an undergrad at the University of California, Santa Barbara, in the early 2000s. “I went in as a sculptor, and I made sculptural, performative dresses that I would wear and have people, like, get under and dance around,” she recalls with some amusement.
Bisected ovoids—isolated pregnant bellies—are stacked and fanned about the picture plane, radiating from a strong vertical axis and looking none too different from a diagram of the solar system. And this fits: To be pregnant, Hollowell says, is “otherworldly”—and “creepy as fuck.” Her representation by Pace, which began in 2017, has also played a role. Since then, Hollowell’s practice has slowly scaled up; with the money from sales brokered by the gallery, she’s been able to work in a larger format, with better materials, and, most important, not entirely on her own. Once, the foam that she used for those slight protuberances came from the discards of a Fischli and Weiss show at the Guggenheim , and the sawdust was scooped up from woodworkers’ shops all over Bushwick.
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