Chakaia Booker’s sculpture 'Holla' with its protruding slices of mixed rubber stacked and held in place, piece by piece, forming a feverishly intense pattern defined by forceful undulating forms, exemplifies the handwork aspect of Booker’s work. Lowery Stokes Sims refers to the ’handwork’ quality in her essay 'Seeing Chakaia Booker’s Sculpture,' where she states: 'Booker has been ahead of the curve of the current interest in handwork and making that has re-emerged over the last decade in the art world. This sense of touch, this commitment to the craft of making, the honing of technique in the service of concept resides in another vanguard: the blurring of lines between what is traditionally separated into art and craft, concept and execution. In Booker’s work these are seamlessly intertwined and indebted to one another.’