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Kate Holiday

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Kate Holiday — Work

Optometry

Abstract painting on a deep oxblood ground. A grey-green angular form crosses the upper half, marked with a row of small yellow lights and reversed lettering. A ladder-like band of white rungs climbs from the lower edge. — Lacrifill(Acrylic on canvas, 40 × 30 inches)

Square painting in smoky olive and grey-brown. Dark branching strokes tangle at the centre; two rows of reversed white lettering and dotted marks run across the lower right, like an eye chart dissolving. — Macular Degeneration OD(Acrylic on canvas, 48 × 48 inches)

Dark brown and black field cut by fast acid-yellow and pale blue strokes. Heavy black gestural lines run corner to corner with visible drips; a dense red mass sits in the lower right corner. — Demodex(Acrylic on canvas, 40 × 30 inches)

Square painting on a rust-red washed ground. Chalk-white and pale grey shapes drift across it with thin dark lines trailing downward, and a dashed black-and-white band runs along the lower left edge. — Floaters OU(Acrylic on canvas, 48 × 48 inches)

The Supernatural in March

Three-panel painting, twelve feet wide, in silver-grey, bone white and pale green. Black branching marks and long drips run across all three panels; a burnt orange passage anchors the far left. — The Supernatural in March(Acrylic on canvas, triptych, 60 × 144 inches)

Left panel. A red passage rises through the lower left against pale grey and bone; black strokes hang across the surface and a single white drip runs the full height of the canvas. — The Supernatural in March (1 of 3)(Acrylic on canvas, 60 × 48 inches)

Centre panel. Thin black armatures lean up from the lower edge into a soft green and grey sky, with teal and pale yellow breaking through and white scraped areas near the base. — The Supernatural in March (2 of 3)(Acrylic on canvas, 60 × 48 inches)

Right panel. A large pale yellow-green mass fills the centre against dark blue-black, with white and teal edges and long dark drips falling through it. — The Supernatural in March (3 of 3)(Acrylic on canvas, 60 × 48 inches)

Almost Blue

Tall painting in ochre, olive and deep brown. Loosely painted figures climb a bright yellow diagonal that cuts the canvas from the lower left to the upper right, with flashes of red at their edges. — Live at Lincoln Center(Acrylic on canvas, 83 × 60 inches)

Two-panel painting, ten feet wide, in muted olive, mauve and smoke. Faint scratched lines and ghosted shapes surface through thin washes; the left panel warms to yellow-green, the right cools to grey-violet. — A Sailboat in the Moonlight(Acrylic on canvas, diptych, 48 × 120 inches)

Left panel. Thin olive and umber washes over a dark ground, scratched and scraped so that earlier marks show faintly through, with a small warm orange note near the centre left. — A Sailboat in the Moonlight (1 of 2)(Acrylic on canvas, 48 × 60 inches)

Right panel. Olive green on the left dissolves into grey-mauve on the right. A few quick dark linear marks sit across the upper half, and a small black shape breaks the top edge. — A Sailboat in the Moonlight (2 of 2)(Acrylic on canvas, 48 × 60 inches)

Move Me On to Any Black Square

Eight-foot-wide painting of a crowd. A large blue and red-striped flag-like form fills the left; a yellow-faced figure in black stands at the centre with arms out, surrounded by pale and blue painted faces against a dark ground. — The Collective Unconscious of America(Acrylic on canvas, 60 × 96 inches)

Near-monochrome painting in black, charcoal and white. White strokes flare out of the darkness in the lower half like light on water; the upper half stays almost entirely black. — Mirrored 1(Acrylic on canvas, 60 × 48 inches)

Dark painting suggesting a night street. Vertical white and grey reflections run down the left; on the right, a single saturated red rectangle glows like a lit doorway in a black facade. — Mirrored 2(Acrylic on canvas, 60 × 48 inches)

Large painting of a guitarist against black. The figure is built from olive, ochre and white planes with quick dark contour lines, one arm raised, the guitar neck angled sharply down to the left. — The Advocate(Acrylic on canvas, 80 × 60 inches)

All images © 2026 Kate Holiday. All rights reserved.