Sigrid Holmwood Exhibited at The Saatchi Gallery

Sigrid Holmwood
Butchering a Pig


Fluorescent egg/oil tempera, cobalt blue, lead white, lead antimonite, burnt sienna, raw sienna, vermillion, ultramarine ashes, verdigris and madder in oil on linen

90.3 x 115.5 cm

Sigrid Holmwood’s unique approach to painting is most vivid in its use of colour. Neon tones garishly clash with her subject matter of historical reenactments of vanished traditional life, and museum workers in Skansen Museum on the island Djurgården in Stockholm who dress in traditional garb to better illustrate life in the historic buildings that populate the island and make up the museum.

Sigrid Holmwood
Church Boats


Fluorescent egg tempera; lead white, iron oxide, raw sienna, Spanish glazing ochre, red lead, French ultramarine in oils; birch leaf lake in pine resin on board

137 x 122 cm

Church Boats depicts an enactment of a midsummer festival from Rättvik, in the region of Dalarna, where villagers cross a lake to attend church in boats adorned with wreaths made from birch. The yellow paint used in the scene is made from birch leaves. Its style and hues are reminiscent of impressionism. “I am interested in 19th c. themes, Holmwood says of her nostalgic aesthetics. That’s the period when they started to feel rural culture was being lost, and artists made a real political gesture against the city. Van Gogh went to Provence to live with peasants, and likened the act of painting to the peasants ploughing their fields. I like the idea that there is a history of artists doing that, artists trying to rough it. The psychedelic colours refer to the hippie movement, going back to the land, living in communes, which is a similar sentiment. I think these ‘hippie ideas’ are having a resurgence today with people growing their own vegetables in allotments and the ‘slow food movement’... I think of my work as being a ‘slow painting movement’.

Sigrid Holmwood
Mother and Child


Fluorescent brick red egg tempera; Cobalt turquoise, lead antimonate, red lead, lead white, Prussian blue in oils; iron oxide in soured milk on board

91 x 74 cm

Holmwood’s Swedish scenes were often developed from sketches she made of the interpreters at the Skansen Museum on the island Djurgården in Stockholm. The island houses actual historic buildings transported from all over the country. The museum’s gallery guides wear traditional dress and demonstrate antique tools and olden-day skills. Mother and Child is a portrait of a woman taking part in a live diorama in a house representing the area of Darlarna. Holmwood was interested in this scene’s suggestion of heritage, the knowledge and experience passed from one generation to the next, giving formation and grounding to contemporary identity.

Sigrid Holmwood
S√°mi Couple


Fluorescent yellow orange, fluorescent flame red egg tempera, Chrome yellow, lead white, Cochineal, madder, French ultramarine, Prussian blue, lead antimonate, Viridian in oils on board

61 x 75 cm

Sámi Couple features museum invigilators portraying the indigenous people of the northern Nordic areas in a nomadic tepee setting. Holmwood considers her work in relation to an increasing trend to integrate history into representing everyday life, and cites interactive museum displays and television documentaries as examples of this movement. She describes her intensive processes as an experimental archaeology, discovering the nature of materials by really using them. Despite her ongoing research, Holmwood’s days in her studio are mainly spent painting; extracting pigments is a long process that doesn’t require constant attention. As she often works with organic materials such as milk and eggs, she mixes her paints at the beginning of each day, but never makes notes. Her paintings often incorporate very pure pigments as composite colours can’t be exactly reproduced.

Sigrid Holmwood
Frying Fish


Fluorescent egg tempera, bohemian green earth egg tempera; verdigris, cochineal, lead white, lead antimonate, raw umber,bohemian green earth, Spanish red ochre in oils on board

110 x 122 cm

In England Holmwood is a member of a Tudor re-enactment group; at their meetings, held at historical preservation sites around the country, they live an authentic 16th c lifestyle and re-learn the life-skills of the past. “We don’t pretend to be in the olden days,” Holmwood makes clear. We are modern people discovering how things work through doing it. The group collaborates in historical research and shares their knowledge. In the club, which includes ironmongers, leatherworkers, clothes weavers, Holmwood is, of course, an Early Modern artist. Holmwood explains: The 16th-century is technically Early Modern rather than Medieval. It’s the beginnings of contemporary art. The art market and the first stock market emerged in Antwerp, and genre painting such as peasants and landscapes started to develop. The development of artists painting peasants through art history is a reflection of increasing urbanism. Frying Fish was completed during an excursion to Avoncroft in Bromsgrove, and pictures a friend cooking kippers. Reminiscent of Gauguin’s rustic exotica, the ceramic-like painting technique replicates the actual glaze effect of the jar seen on the counter.

Sigrid Holmwood
Making Lye


Fluorescent egg tempera, lead antimonate, raw sienna, raw umber, bohemian green earth, lead white in oils on board

130 x 110 cm

Making Lye is based on a re-enactment we did in London.” Holmwood recalls. “Lye was used for soap, and is made by pouring water through wood ash. We were making it to show how people did laundry; however, lye was also used in making pigments.” In depicting this ritual, Holmwood draws from both the chemical and creative traditions of her craft. The composition, subject, and ephemeral tones of this piece can be compared to Barbizon painters such as Jean-François Millet, whose canvases championed the modest life of the countryside, and the value of nature and labour. Holmwood’s classical scene harks back to a time when life seemed a lot less complicated; its simple, unassuming beauty derived from the time-honoured virtue of taking pride in one’s work.

Sigrid Holmwood
The Last Peasant-Painters Peeling Potatoes (Old Woman Mill)


Fluorescent orange egg tempera; lead white, Prussian blue, Chrome yellow light, lead antimonate, Bohemian green earth, Spanish glazing ochre; iron oxide in soured milk; birch leaf lake in pine resin on board

122 x 142 cm

I use things made by hand by other people, Holmwood adds, such as paint brushes, reproduction period pottery, wooden bowls, hand blown glass, all mixed in with modern things. I like the idea that I’m partaking in other peoples’ crafts and skills. Holmwood’s historical investigation is carried through in her chosen subjects and aesthetics. Half Swedish, Holmwood is inspired by the 19th-century peasant painters of the Darlarna province, whose folk art is a national symbol of Sweden. Based on an archive photo of the actual last peasant painter, the figures in The Last Peasant Painters Peeling Potatoes (Old Woman Mill) are sat in front of a typical Dalecarlian composition. The image seen on the wall is based on a folk legend of old women who are ground up in a mill and emerge rejuvenated. I painted the woodwork using a technique which these artists used to represent mahogany, Holmwood reveals. It’s paint glazed with a sour milk and pigment mixture and sealed with oil. It gives a psychedelic effect.

Sigrid Holmwood
Old Woman Hugging A Goat


Fluorescent lemon yellow, fluorescent flame red, lead white, cochineal, ultramarine, green earth, Spanish red ochre in egg tempera and oils on board

122 x 153 cm

Sigrid Holmwood strives to get to the absolute heart of painting: not just as an activity, but as a material substance, entrenched with history, inherited knowledge and innate meaning. Holmwood’s Technicolor canvases seem oddly contemporary, especially considering how they’re made. With anorak enthusiasm, Holmwood trawls centuries-old archives and internet forums and consults conservationists, chemists, and herbalists to revive the lost recipes of paint-making. Her pigments and glazes are concocted entirely from scratch and include all manner of ingredients both common and exotic, from precious stones to ground up bugs. “I use these traditions playfully, and expand upon them,” Holmwood explains. I’m less interested in actual recreations than their modern possibilities. In Hugging A Goat, for example, I mixed fluorescent pigment in egg tempera.

© Natasha Hoare, 2015

Sigrid Holmwood's Biography

Sigrid Holmwood
Born in 1978 Hobart, Australia
Lives and works in London, UK


The Peasants Are Revolting!, Annely Juda Fine Art, London

A Peasant Garden, ASC Gallery and garden, London

Peasant Painting, Halland Konst Museum, Halmstad, Sweden

Journey to WuMu - Paper Paintings, Paintings and workshop, Annely Juda Fine Art, London (in collaboration with Vitamin Creative Space, Guangzhou and Beijing)
Painted Performances, Upton House, National Trust, Banbury, UK

The Astonishing Adventures of Lady Indigo, Performances and workshops, Vitamin Creative Space, The Pavilion, Beijing, China

1847- Painting, Annely Juda Fine Art, London

Past-times and Re-creation, Transition, London
Self-sufficient, Contemporary Arts Projects, London

La Pittura Sale sugli Alberi , 42contemporaneo, Modena, Italy


Creating the Countryside, Compton Verney, Warwickshire, United Kingdom
Ecos, Sala Rekalde, Bilbao, Spain

Champagne Life, Saatchi Gallery, London

Anti-Social Realism, Charlie Smith Gallery, London
History painting, The Function Room, London

Detail, (curated by Andrew Bracey), H-project Space, Bangkok, Thailand and Transition Gallery, London

Stag: Berlin/London, (curated by Katrin Plavcak - Cullinan Richards)
Dispari and Dispari, Reggio Emilia, Italy
The Foraged Book Project Volume One: Briefs and Proposals, (curated by Fergus Drennan and James Wood) Primary, Nottingham

Passage, Blindarte Contemporanea, Naples, Italy
Tattoo City, Castlefield Gallery Manchester,

The Saatchi Gallery in Australia, Gallery of South Australia, Adelaide
Polemically Small, touring Torrance Art Museum, Los Angeles, and Charlie Smith, London

Newspeak: British Art Now, The Saatchi Gallery, London
John Moores Painting Prize 2010, Walker Gallery, Liverpool
Miasmas, ASC Gallery, London

The Artist's Studio, Compton Verney, Warwickshire (see other resources page)
Back to the Future: young artists look to old masters, at Robilant and Voena/ Stair Sainty

Painting Room, Transition Gallery, London

Annely Juda: a celebration, Annely Juda Fine Art, London
Artificial Glory, Standpoint Gallery, London
Cunning Chapters, The British Library, London

The Spiral of Time, APT, London
Responding to Rome, Estorick Collection, London

The Jerwood Drawing Prize 2005, Jerwood Space, London (touring)
Spiral of Time, OHOA, Reading
Hand in Hand we walk alone, Clapham Art Gallery, London
Pocket-Scopic, Sartorial Contemporary Art, London

If you go down to the woods today…, Rockwell Gallery, London
Spazi Aperti, Romanian Academy, Rome, Italy
Extra-Natura: Konst! Scopriamo la Svezia, 42contemporaneo, Modena, Italy
Compass, Sala 1, Rome, Italy

Bloomberg New Contemporaries 2003, Manchester, London
Vaguely Romantic, Rosie Wilde, London
Rockwell, Rockwell Gallery London