JENNIFER AMADEO-HOLL lives and works in the Artist Building, located in the historic Fort Point district of Boston. She has exhibited nationally and internationally, including Sweden, Finland and Chile and a touring exhibit of South America and Asia. She has received a NEFA award, a NEFA -Benton award, a Trustman Fellowship, the Harvard-McCord Arts Prize, and a two-year Swedish Institute Fellowship. Her work is represented in public and private collections, including AFA Konstförening, Biogen, Cristal CCU, Fidelity, Eliot Hotel and Restaurant Clio, Excel, Harvard Management, The London School of Economics, Meditech, Oxfam, Svenska Institut, Swedish Television, Wechsler Ross NY and nine-time Silver Slugger Manny Ramirez.

Critics have called Amadeo-Holl's work "knockout, confident painting" exhibiting "a marvelous synthesis of visual energy" with works that "tease, drawing you into detail that resonates, then pushing you away with their unsettling context" and imagery that "rises and falls out of mists of paint that disrupt our expectation of space and read like dreams".

Amadeo-Holl's oil paintings range from the intimate scale of 4x6 inches to large format work of 6 feet. Her work explores the complementarity of abstraction and representation, and the relationship between individuals, the animate and inanimate. Geometric forms may combine with organic, curious, and accidental shapes to make inferences to recognizable forms, while rendered objects fuse, morph or sit juxtaposed with abstract shapes. Compositional density and scale can range from a stimulating emptiness to a consonant surfeit, as befits each paintings needs. She is drawn by the mystery of why the inanimate, including painting itself, should so often and so urgently feel sensate. Amadeo-Holl sees painting as a physical and philosophical practice, one which examines the nature of reality, the relationship between mind and matter, and the interplay of fact and value. She is not painting towards something more than or truer than the real, rather she finds the world simultaneously mundane and fantastical, and therefore see the incorporation of imaginary imagery as native to reality; that is, the ordinary is the imaginary. These are formidable but tender, paradoxically harmonic paintings that may be inexplicable and yet speak.