About Amanda Holiday
Years ago I started this large-scale series of drawings on brown paper which I called "˜The Hum of History'. I meant Hum as in "˜kyo' or the sound or vibration that connects us all to everything in the universe. It was quite a grand idea at the time I suppose - I wanted to create an epic, fluid, narrative series that would go on and on and on - a narrative of the world that would make more sense as it continued. Everything fed into it - my own experience, migration, fairytale, being black and female, work, love, the world at large, domestic life, politics, stories. I resumed the Hum of History drawings in 2008 at a critical moment in my life. Unhappy and isolated in Cape Town, I wanted to bring about big change in my life. I resumed the drawings almost as a kind of exorcism - to "˜draw myself out' of my current situation - and I suppose that is what happened. I drew non-stop for over a year - huge vibrant, 3 metre x 2 metre drawings that filled every wall of the house. I pictured myself - always wearing the same yellow cardigan and clutching my daughter's hand as we strode boldly out of the picture - towards the future. The works played with size and were peopled with giants and midgets. I plundered facebook friends' photographs for inspiration and moments from their lives started to fill odd corners of the drawings. The works became prophetic and resonated with people in strange ways. Since my return to the UK, the work has become smaller. The series "˜The Bride Who Ate Her Husband' - still infused by a sub-Saharan sense of colour - is a humorous and fictional re-telling of the breakdown of a marriage. I suppose what I mostly want to do with my art is tell stories, intrigue and continually question the authenticity of what we are about..