In these imaginary environments, the elements are vaguely descriptive in order to allow the viewer to decide what roles these inhabitants play. Are they fantastic organisms, contributing to the life cycle of this fictional world? Or are they simply inert objects making up an absurd landscape? Although the scenery is chaotic, there is a certain level of physics involved in the piece. Loose lines that gesture to the viewer, and bright primary colors are intertwined to create colliding secondary colors in a ballet of chaos and over-stimulation. Much like Ben-Day dots the colors and implies shading; this work is equally typical of early newspaper and comic printing. The practice of free association was used to reach an unconscious landscape while pop culture archetypes and post-impressionist ideals seep through the cracks of unnatural, manic line work and positioning
Inspired by his prior work of pixelated images, Hollis presents to the viewer the influence of low fi patterns integrated in the work. As the series progresses, a narrative begins to unfold. It almost seems these are images from an alien world being transmitted through a visual system plagued with interference and presented by a clumsy narrator in a documentary of abstract ideas and forms. This innate expressionism and artistic freedom give the work its wild, even disturbed atmosphere, creating equal feelings of unease and interest in the viewer.