Liz Holzman  
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I was born in Oakland , California in 1953. My parents were involved in the arts and sciences: my father had a PhD in Chemical Engineering from Cal Tech and was an accomplished artist in glass; my mother studied Botany and was a watercolorist. I began painting at age 15 and taught myself by studying the works of many artists. After receiving a BA in Art from Mills College I became interested in film and animation and went on to receive an MFA from Cal Arts in Film Graphics, creating three animated films, and becoming a regional finalist in the Student Academy Awards.

2010 Telfair Museum
Juried Show
Savannah, GA
2010 University of St. Francis
Faculty Show
Fort Wayne, IN
2010 Artlink
Juried Show
Fort Wayne, IN
2009 Art Institute of Portland
Walls and Bridges
Artist Retrospective

Portland, OR
2009 Froelick Gallery
Juried Show
Portland, OR
2009 Hollywood Theater
Portland, OR

Painting, for me, is a process of opening myself to the world by creating a bridge between what I see and what I feel. The painting itself is this bridge, and in a way, is one reason why bridges are frequent subjects for me. A bridge spans the unconscious element of water, which embodies emotion or the psyche. It is a human construct we use to define space or time or ideas. I find water, too, a powerful subject because it is always moving, always changing, always reflecting. It looks like many things, but in truth it is also only one thing. All water is connected, as all humans are connected, all life is connected. It has volume and power and force as well as simplicity and delicacy.

I always listen to music, if I can, when I paint. Music is the most powerful artform, in my opinion. It brings a listener closest to a state of receptivity of being. I also only paint onsite, because for me the experience of being present in a place and receptive to it, can only happen in reality, not in my imagining or in a studio.

My heroes and teachers in painting have been varied: Manet, Courbet, Van Gogh, Winslow Homer, Sargent, Rembrandt, Vermeer, Botticelli, Velasquez, Goya, Tiepolo, Canaletto, Breughel. Monet and his impressionists never moved me in particular, and I have some aversion to Renoir. I suppose these reactions are somewhat impulsive and intuitive, but truth has many faces and expressions. Van Gogh moves me to tears, and Gauguin feels egotistical. We all have our reactions to art and I don't expect my opinions and feelings to be universal, or even correct, if such a thing exists. I do expect of myself as a painter to realize a level of truth in my work which is sometimes painfully drawn out, and when I fall short of it, I am unforgiving.

I keep remembering that we only have a brief short moment to be alive on this most improbable bit of real estate in eternity, and that though there is no such thing as permanence or universal truth, there does exist in the moment an opportunity for touching something that comes very close to emotional truth. It is as fleeting as music, though it be written in stone. But for what else do we exist?
Burnside Bridge, 2009
Bridge on Seine
Cincinnati Nature Reserve
Île de la Cité
Roanoke, Indiana
Seine at Night
Amsterdam Canal House
Amsterdam Canal House
Willy D
Abandoned Railroad House
Autumn Street
Burnside Bridge
Chippewa Square
Christmas Ornaments
Country Road
Hawthorne Blvd.
East From Mount Tabor
Marquam Bridge
Marquam Bridge
Mel Solomon
Mississippi River Bluff
Mt. Tabor
Prudent Mallard Bed
Red Orchid
Red Wine
Steel Bridge
Waverly Plantation
Lake Hollywood
Lake Hollywood
Pacific Coast Highway
Pale Roses
Sepulveda Dam
El Capitain
Football Field
Front Door
Hollywood Hills
Mills Hall
Young Boy
Night Thickens
Peach Roses
Van Nuys Boulevard
Apples on Blanket
Girl, 1972
Self Portrait Engraving
Self Portrait in Dorm Room
Self Portrait
Still Life with Apples
Woodcut Self Portrait
Revonah Avenue