Process and materiality are central to Holiber’s practice, which can be seen as a celebration of form and colour. His paintings oscillate between abstraction and representation. Taking a sculptural approach to image making, he negotiates the territory between intuitive mark-making and creating recognisable forms. The result of which leaves the viewer with a palpable, tactile sensibility that begs for interpretation.

The physicality of Holiber’s work is perhaps most present in the medium itself. The stages of progression of each painting could be individual works in their own right, shifting between multiple states before reaching their end. Each painting is formed from a dense impasto body, made up of thickly layered acrylic medium. In a purely intuitive process, Holiber never works from drawings or other visual aids, but rather relies on his mind’s eye for guidance. The initial stages are akin to drawing in three dimensions; the artist pushes and pulls the medium, with every action of his body producing a tangible form. The process itself is physical and nearly aggressive, demanding of the artist’s bodily effort. Almost beholden to the material itself, Holiber must work at a pace to keep up with the medium before it dries. At last, the artist is able to resolve these actions, reaching an affinity with the medium to decipher what he has just created with the final layers of oil paint. At this point, the figurative aspects of each piece reveal themselves and the importance of colour comes into play. Holiber’s palette is almost deceiving in its vivid tones, conveying something bright that grows darker the longer it is observed.