Holly May Morrison is a multimedia artist specialising in photography and filmmaking.
Holly is an Amsterdam based photographer and creative who has worked with clients across Europe, the US and Asia. She has a Masters in Art History from St Andrews and has taught the subject in Italy for 7 years alongside her creative work. This connection to art history has given her a fluency in visual analysis and communication. Holly also studied Photojournalism at the University of Richmond, Virginia and a documentary-style of photography informs most of her creative work.
Her work as a photographer ranges from food and lifestyle shoots with restaurants, caterers and chefs to landscape photography and environmental portraiture. Holly enjoys capturing subjects doing what they love, where they feel most comfortable, rather than in a studio setting. Holly produces truthful photography with vivid colours and a creative use of natural light.
Holly also works in video. Most recently producing a documentary-short about musician, Marie Naffah, performing 50 gigs in 50 days post pandemic. This short is titled Fifty Days and will be released after it is premiered at the Doc'n Roll Film Festival in London (November 2022).
Her debut music video, The Cage, by Marie Naffah, was released in July 2020. It was followed up with two more music videos for Marie Naffah’s debut EP, Golden State. California was filmed in Sicily in August 2020 and Wasteland was filmed in the UK in January 2021 with a one-woman team to respect social distancing rules of the time. Wasteland was premiered on Clash Magazine. In 2022 Holly released the music video for Marie's song, Angie, which was filmed in New York and Amsterdam.
More recently Holly's personal work has included abstracted photography using light and textures from the natural world to create patterns. This exploration of the abstracted forms found when zooming in or out of the natural world has also informed her painting throughout the pandemic. In July 2021 Holly put together an exhibition called ‘About the House’, with two friends. They had all spent the duration of the first lockdown creating art and finding new ways to appreciate this slow new pace of life. As London opened up the idea of a community exhibition, open to anyone who had been making or creating throughout the pandemic, seemed like a valuable way to bring people together again. 20 local makers submitted work to be displayed in the domestic space, which was curated to display works in a way that celebrated process over product.
