These creative pieces invite us to explore a captivating new realm of moods.
. Their subjects and degrees of abstraction may vary, but they share a devotion to “color as content,” as Hollowell puts it, and a trippy vibe that gives their work an otherworldly quality. Hollowell’s recent pieces meld neo-tantric influences and references to the body into a geometric, feminist abstraction; Wakoa, meanwhile, composes impressionistic views of her garden. Hughes makes moody, dramatic landscapes, and Bull creates densely vivid canvases that look as if a flower shop exploded.
Lincoln, Hollowell and Wakoa are also close friends who live near each other, have young children of about the same ages and frequently discuss art-making. Lincoln has known Hollowell since studying under her father, artist David Hollowell, at UC Davis. “She was making these beautiful portraits of herself and of her friends,” says Loie Hollowell, who was in high school at the time. “They were just so good that I really idolized her.
Though her work wasn’t selling much, Lincoln helped create a community. She and her now-husband, Kevin Curran, mounted exhibitions in their loft—they called it the Laundromat—to promote other artists, including Hollowell. Both women began to explore landscapes and had a two-person show in Queens in 2013. Lincoln’s images of foliage were bright and lush, reminiscent of Henri Rousseau, while Hollowell’s skewed darker.
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