Holly Silius. George Clinton, 2023. Stone and gold leaf.
interview by Summer Bowie
“I don’t have to sell my soul, he’s already in me” read the lyrics of The Stone Roses’ groundbreaking hit track “I Wanna Be Adored.” Perfectly salient in their minimal simplicity, they defined a generation who watched their idols on television with a yearning desperation for recognition. Los Angeles-based sculptor Holly Silius was in her youth living in Manchester at the time. It was the end of Thatcher’s era of neoliberal deregulation with its flagrant embrace of conspicuous consumption that made so many of her peers feel a hollow ennui; a listless lack of purpose that left them looking ahead to the next millennium without the slightest clue of where they fit in. Thirty-five years later, Generation X finds itself in an era of social media where everyone can build a virtual platform from which to project their image and ideals. Silius now finds herself adorning and casting the faces and bodies of countless people—some with humble followings, some with household names—studying their every angle to capture the elusive essence that makes them so alluring as subjects.
SUMMER BOWIE: The exhibition takes its title from the 1989 hit by legendary Madchester Shoe Gazeband The Stone Roses. Lead singer Ian Brown was quoted in Clash Magazine saying,“If you want to be adored, it’s like a sin, like lust or gluttony or something like that.” Do you agree, or is the idea of moralizing our desires sort of antiquated?
HOLLY SILIUS: Besides the fact that it is simply a favorite track of mine, it felt apt to name my first solo show I wanna be adored for two reasons: firstly because I like to acknowledge and be patriotic to my roots, I come from Manchester myself, but secondly, because of the relevance the words gave to me when I was putting the pieces together, much further away from Manchester, in LA. Los Angeles is synonymous with a sense of “lust for fame” — it is the land where people go to gain adoration. The works I have made and accumulated over the last few years are all of people that are adored already in some way and they appear to me to desire more and actually deserve more recognition. The works also reflect perhaps a vulnerable side of me too. Maybe it is just that we all want to and should be cherished, noticed, and validated.
BOWIE: Your practice takes inspiration from studies of morphology. What role do linguistics play in your sculptural practice?
SILIUS: My sculptural practice is definitely that of a ‘tangible language’ through the form of the body in whatever way the sitter is casted. Whoever I work with I tend to try to understand their personality before, if I have some time and I have to be flexible with this, I am able to consider how their body communicates with me personally, how I perceive them and I also consider how they are perceived by a wider audience, and what speaks to me to capture them frozen in that body time capsule. This can be over a few years or a day, depending on the opportunity with that person. The piece of Penny Slinger I had been thinking about for a few years but I didn’t know exactly when I would have the platform to demonstrate her in the way I felt she deserved, and as my show was approaching, I felt the urge to make some more bronze pieces. For me, bronze already communicates the dedication behind a piece and the person. I also needed to express more with Penny than using the classic polished bronze, she needed a material as unique as she is, which is where the blow torching came in. That was so much fun, and the unpredictable nature of the chemical reactions within the metal depicted exactly what I wanted to convey.
Holly Silius. Lio Mehiel, 2021. Stone and steel.
Holly Silius. Rain Valdez, 2022. Stone and steel.
BOWIE: How do you choose which body parts to cast with your subjects and the materials for each?
SILIUS: When I am working with a person and I have a vision of the final piece and which body parts I will use, it tends to be because I see a way in which they represent themselves to me, and then I talk with the person more and we develop a casting position that is comfortable. Sometimes, I procrastinate on a casting for a long time as its such an intimate experience that I want to really make it into something that is super considered and I take care of people's time and image. The materials I use evolve over time but everything I use feels very heavy and is representative of the statement I am making about my subject. I can't afford to make mistakes, because they are set in stone or something else so definitive. But the finish can be organic and unpredictable, which I enjoy. It balances the heavy nature of the final piece.
BOWIE: Do you have a clear vision of how you’d like to render your subjects going in, or do the details present themselves in the process?
SILIUS: I am quite clear with the vision I have for the final piece but sometimes the mistakes or accidents that occur are the most joyous part of the process and final piece. The details have to be malleable as I don’t know everyone’s body. They are all so unique, so I have to think on the spot how to account and adjust for these occurrences. Also some people are self-conscious about certain aspects of their body so being respectful of this is also important, and I sculpt and stylize certain parts so I and my subjects are happy. It's a collaboration, always.
BOWIE: Aside from making sculpture, you also have a formidable practice as a makeup artist. You even sometimes apply makeup to your sculpture. Do these practices inform one another at all?
SILIUS: I have been working as a makeup artist for twenty years now. I started in prosthetics and special effects, moved into theater, opera, tv, film, and finally into fashion and beauty. For me, the sculpture and applying makeup go in a complementary tandem, as adding makeup onto the bodies and faces is always applied by me in a sculptural way. I will sculpt the body with color or textures like gloss and shadow effects so that sections with a matte finish blend and melt into a dry section. I move around the piece or the person imagining how it will be viewed at every angle. I know faces and bodies quite well and appreciate the individual nuances each one has every time.
Holly Silius. Mr. Wash, 2022. Bronze and steel.
Holly Silius. Penny Slinger, 2024. Bronze & blow torch.
BOWIE: As a makeup artist, It’s your job to project a character onto your subjects that they may not immediately see, but that they may have a natural ease in accentuating. Is this something you find easy to do with yourself?
SILIUS: Creating illusions for beauty, to tell a story or to create a character from whoever I am working with is like a fantasy or dress up. People are very concerned with protecting their image, even more so when they have bad taste, so to encourage an idea onto them is sometimes challenging until they trust you. Personally, I don’t create a character for myself, I am just myself and I have evolved like a sculpture can evolve with age, my ideas and taste changes and the way I present myself changes with confidence and with credibility.
BOWIE: How did this particular body of work come together at Central Server Works?
SILIUS: I met Joshua who owns CSW through a shoot with George Clinton for Autre, he curated George’s show at Jeffrey Deitch gallery. I proposed to cast George’s face for the shoot and Joshua got to know my practice more. The accumulation of faces and bodies in stone, resin, metal and wax from the last few years in my studio led me to making six new bronze pieces to go alongside the older works. Then, I added a couple of new casts with artist friends Langley Fox and Penny Slinger, who we had mutually wanted to cast for a while, but I was waiting for the right moment to capture them for the perfect presentation.
Holly Silius. Langley Fox, 2024. Bronze & blow torch.
Holly Silius. Melt me, 2024. Wax, wick, and twig.
BOWIE: What’s next for you?
SILIUS: I have so many ideas of sculptures I want to make, including some 3D-printed body pieces I made in 2021 inspired by Georgia O’Keeffe that I want to dismantle and take molds of, then re-purpose the design with bronze or steal, weld parts together and use the blow torch for an oil slick color effect. I got really into the blowtorching. I also have this idea to make huge, 3D sculptures of environmental figures using ocean waste plastic. I need a sponsor for this one and I already wrote to David Attenborough to see if he wanted to be involved. I’m also thinking of experimenting with AI as a more financially conscious way to explore my ideas, trying to embrace the technology aspect of that.
I Wanna Be Adored is on view by appointment through May 18 @ Central Server Works 517 Victoria Ave Venice, 90291
Holly Silius. Holly, 2024. Bronze & blow torch.