Whether outside or in the studio, once Hollett-Bazouzi has completed her thought process, she works until the
painting is done. Besides trying to capture the moment, the wind, the ripple, the sound and light, there is
the physical factor of how she paints and it is very difficult to go back and finish later. Touch up,
yes; stop for a few days and come back, no. She uses a painting knife almost exclusively, and that lays the
paint onto the canvas very differently than a brush. Once the paint has begun to harden, she can’t push and
pull the paint around, scratch and scrub, build and obliterate. The texture becomes too busy, too disruptive
to her thought process.
In the studio she will work 12 hours uninterrupted on a large canvas—capturing that same sense of
urgency she feels when working outdoors. This is fueled not only by constantly changing light and weather,
but also by the locations Hollett-Bazouzi chooses. She's drawn to areas that we see but don’t see. This leads to work being
done in a series, expressing change over time, real or imagined, within herself or in the location.
Look, look, look...
It used to be the first written words we learned: "Look, Dick, look." See, Jane, see."
"Do you ever look behind you...above you, below you, to your left or right? How many breath-taking
sunsets have you missed because you were driving east in the evening, or you were too busy thinking
about work to see the moon setting in the morning? Have you ever wished you had your camera with you
to capture that moment, or—and this is the big one—never appreciated a view until a building went up in
front of it, or a bulldozer plowed it under? I try to capture those moments, those views, before they