In this exhibition, the artist deals intensively with the fragility and at the same time the durability of materials. The artist’s paintings are characterized by an intense preoccupation with different materials and their properties, often using unconventional and everyday substances such as metal, plaster, soap, lacquer, glass, paper and textiles.

Her work is characterized by an intensive exploration of different materials and their properties. In this way, she enters into a kind of dialog with the materials she explores. The artist attaches central importance to the creative process. With an alchemical approach, she explores the possible uses of materials, whereby experimentation and the transformative power of these are essential components of her work. The comparison with alchemical practices refers less to the scientific dimension, but rather to the exploratory and at the same time playfully curious - unbiased approach to the material. This also includes Myriam Holmes' physical involvement, which manifests itself in the form of traces of herself in the works and emphasizes the close connection between artist and work. Holmes' works are abstract and poetic at the same time. They speak to the viewer in a subtle way. An exciting balance between lightness, weight, transparency and density, transience and permanence can be discovered in her works. As with the material, the artist also explores the conventional concepts of painting. In doing so, she explores these in a new way and expands them at the same time, as Holmes' paintings transcend the surface and conquer the space. A painting that contains movement and demands movement, because it is often only in the interplay with the viewer that the full pictorial quality emerges. The central work in the exhibition is the painting sculpture “kosmima 2” (the word comes from the Greek and means: a piece of jewelry or a jewel), which is conceived as an outdoor sculpture made of stainless steel. The play with lightness and fragility continues here too. “kosmima 2” appears light and almost flying. The process of deformation seems self-evident and yet in reality there is a lengthy, laborious process behind it. Once the painting sculpture has arrived at its intended location, the “outside”, the surfaces created by the creases will absorb the natural surroundings and reflect them at the same time, thus lulling the painting into constant change.