Seemingly disassociated fragments: At the core of a good representational painting is a drawing. There is a primal line drawing contained in even the most painterly of my canvases. As far as draftmanship goes, this is the silver cord of conceptual continuity that runs thru all my works. There are at least two paintings in each of my paintings: the one you see when you look at the lines, and the one you see when you look at the brushtrokes that fill in the space between them. Each is dominant in their own realm. The line tends to convey the exoteric, and the brushstrokes convey the esoteric. What I choose to paint, I choose and execute extremely quickly, with total immediacy. Often it's done unknowingly or unthinkingly, like Automatism. Once this initial burst is achieved, completing the work is a long journey done painstakingly, deliberately, and by a very specific method. I am omnivorous about my choice of materials. I have painted on canvas, wood, paper, ceramic tiles, pegboard, china plates, rat traps, pizza boxes, and anything within reach. Is this done as some sort of statement or done out of expedience? It's a statement of that expedience. Clairvoyance and craftmanship are equal partners in what I do, and one guides the other. I don't know what to say when asked what kind of art my paintings are "supposed to be". They're supposed to be Jeffrey Scott Holland paintings. And I think I'm the best source for Jeffrey Scott Holland paintings.