Holly Sabine Nerreter’s practice is rooted in a deeply personal and emotionally attuned exploration of the human condition. Born in Nuremberg and now based in Greenwich, London, her journey has moved across countries and disciplines, shaping a body of work that is both intimate and socially resonant. Working across drawing, painting, sculpture and photography, it is within illustration that her voice feels most distilled, where time, precision and empathy converge.
Her portraits are not simply representations, but acts of attention. Often taking dozens of hours to complete, each work becomes a quiet meditation on presence, vulnerability and connection. There is a particular sensitivity in her focus on those who are so often overlooked: elderly individuals, women, and those existing at the margins of visibility. Through finely rendered detail and subtly heightened features, especially the eyes, Nerreter invites the viewer into a space of recognition rather than observation.
Shaped in part by her time in both the UK and the United States, including a period in San Diego where art became a vital emotional outlet, her work carries a sense of lived experience. It reflects not only her surroundings, but her response to them. This is perhaps most evident in works such as Protect the Past to Save the Future II, created during the COVID-19 pandemic, where her practice shifts into quiet activism, addressing ageism, loss and the value of human life with both tenderness and urgency.
At the core of Nerreter’s work is a belief in empathy as a transformative force. Her drawings ask us to slow down, to look again, and to consider the stories carried within each face. They challenge indifference, encouraging a deeper awareness of others and of ourselves.
In this interview, Holly Sabine Nerreter speaks about the emotional foundations of her practice, the role of art as both refuge and resistance, and the enduring importance of compassion in an increasingly fragmented world.
Are you self-taught, or did you undertake formal artistic training?
I went to art college and also studied a few semesters at a Art School in Germany. But my technique and vision is primarily self taught, an artistic journey to create a melting pot of traditional methods mixed in with my own personal ,sometimes quirky and unusual, approaches.
How would you define your visual language or conceptual approach?
My visual language is defined by the concept of the Eyes being the windows to the soul. The exaggeration of the eyes in my portraits intend to offer a deeper glimpse into the shared human experience and my aim is to pull in and connect with the viewer. Once this connection is made i hope the viewer can lose themselves in my method of overly detailed faces, describing the trials and tribulations lived by the portrayed human.
Can you describe your creative process from conception to completion?
The process always starts with a powerful emotional response triggered by a personal experience or a social issue observed.Once this connection is made i start with focussing on the eyes and details, sketching what i feel is relevant to my models story. The portrait is then created by not looking at the whole ,but working from detail to detail ,starting first with the eyes.Each portray takes between 30 to 60 hours to complete as the importance of feeling it is ‘just right’ overrides the realistic aim.I go by feeling and erase many times before i agree to the detail on the hunch my inner connection to the piece. It is more a personal experience of connection and meditation instead of a photo realism approach. I also in return feel at deep inner peace whilst creating.Almost like meditation.
Does narrative, symbolism, or storytelling play a role within your work?
Even as in subtle ways , it is a constant in my work. Telling stories of transition and transformation, highlighting my desire for advocating vulnerable groups can be found in most of my works. Manifesting in where the model is looking, how they aged, the gaze upward or dim, i am telling stories of their life. Each viewer is invited to draw their own conclusion on what happened but it should always invite you in to connect, reflect and often reconsider your personal stance to moral and social themes.
Which artists have most influenced you historically or contemporarily and why?
As I primarily advocate woman in my work , Frida Kahlo and Tracy Emin are very much on the forefront of my inspirations. Woman portrayed in Art and Woman creating Art, being vulnerable but strong are my beacon of light. Giving a peek into their own vulnerability but not losing themselves. Their work and their female stance inspire me always.
What personal, cultural, or environmental influences shape your practice?
Social Advocacy and celebrating Woman shape my practice every day. I work from a place of personal challenges as a woman and human being, including depression and loss, aging ,misogynistic experiences and translating them into themes of vulnerability, resilience and female empowerment.
Where is your studio based, and how does the space inform your creativity?
My Studio is based at my home in, Greenwich ,London , which allows me to create a safe quiet space which is completely relaxed , with my fave music, dogs, smells ,my cup of tea. It feels freeing to be able to create with out the need to go somewhere. But act on impulse.
Do you have any rituals or rhythms that anchor your studio practice?
My set up with tea and music is a must. I can lose myself for hours in drawing, my dogs remind me to take a break and check the clock, and make fresh tea!
What bodies of work or projects are you currently developing?
I am currently working on the series ‘SHE IS never going unSEEN’
The title of this body of work is insisting on doubling down on the status that the woman portrayed ,have created something that will not and never be forgotten or could go unnoticed, A collection of portraits of influential, strong woman from the past and today, who made and continue to make a difference to this world (and specifically other woman.) This will span from the creative to the political to social and science. The portraits are set in bright ,ornate frames, each work includes a handwritten quote ,words that are inspiring, sobering and insightful. Literally catalysts helping woman and society to move forward, towards a better future.
Where can collectors encounter or acquire your work?
My next show is at the group exhibition SHIM Social Justice at the Palazzo Pisani-Revedin during the Venice Biennale I will be showing “SHE IS never going unSEEN “ at Flux Exhibition in September and you can also get in touch via my website www.hollysabinenerreterart.com or my IG Hollynerreterart2
