I am by no means an anthropologist, theologian or a historian, But my work is based on all these worlds, just like I’m equally interested in Science as I am in Art. The history of science, like that of art is not a simple progression from lower to higher, but a sequence of responses to the world, conditioned by historical circumstances, and having the central questions of nature always at its heart.
At this moment I’m interested in man’s ability to recognize his own and nature’s patterns. I’m trying to create a graphic novel of some sort that deals with these ideas and it’s also a lot about catastrophic storms
My drawing style is similar to those displayed on 18th century etches: by using highly detailed accumulations of smaller lines I try to recreate all those structures inherent to the world on a sheet of paper. I use my fine liner to express every single thing I imagine in my head on paper. Etches and drawings of the Great Masters such as Albrecht Durer, Theodor Kittelsen inspire and educate me. But not only ‘great’ masters do such a thing. I’m equally touched by the work of Norman Pettingill, who was a true underground cartoonist; maybe known to a small coterie of cartooning connoisseurs but completely unknown in the wider world. He was an avid trapper and fisherman from Northern Wisconsin, and a self taugtht artist.
With all my heroes I find myself drawn to their sketching styles and techniques, I find their spooky visions and apparent love for detail inspiring and esthetically appetizing. A shrub in the background receives the same amount of attention as the protagonist on the forefront. One shows you the journey over the river Styx and the other expresses a wooden-cabin flavored barlife. Both absorb me in their detailing and darkness.
I usually draw in one of my A4 or smaller notebooks, although at times I will draw on much larger surfaces. My working process is always intensive and demands ultimate concentration and discipline.
I’m always working with creating interesting images and I have very clearly defined preferences for what I find visually attractive. I always try to ensure I have given my work all the attention it could possibly need. I often find myself leaning towards depicting wild and savage landscapes, tropical or rather winterish elements and natural forces, or of animals, mythological creatures, mystique and all forms of love.
Most important for me is that the picture I draw has to stand on its own. It has to be an image which requires exploration; taking one, quick glance won’t do. One wants to turn back, has to look closer, and keeps discovering new things. Sometimes the clues will be explicit, other times it will display more implicit and delicate elements.
While my subtly shaped compositions suspect a clear context, the precise nature of the work can be vague. There usually isn’t a clear historical timeframe in my work and I will playfully work with different eras, religions, customs and societies. This is because I want to create an image that fascinates, including scenes I have never even witnessed myself. Even with all the freedom a virgin white sheet of paper offers, I demand more. I need to be in control of everything that appears.
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Margot Holtman was born in Amsterdam in 1984. She has a BFA from Gerrit Rietveld Academie. You can view more of her work here.
