Being born and raised in the American Midwest, Abigail Banholzer often reflects on what has shaped her. Contemplations on her experiences with gender, religion, and midwestern culture inform much of the content of her work. Banholzer finds that most of her inspiration stems from recalling thought provoking imagery and objects from her past and pondering how they could be repurposed or recontextualized. In this regard, hindsight is critical to her work. Through recollection, Banholzer is able to ask herself fundamental questions and re-interpret the spaces certain thoughts or memories occupy in her life. Additionally, much of her work revolves around a central figure, so as to offer the viewer an avatar through which to interpret the concept. 

Banholzer uses materials that harbor a strong physical presence, and span past, present, and future. Though she considers herself a multimedia artist, she is drawn specifically to craft-based arts. Using ceramics, metalwork, and textiles allows her to experience art making in a kinesthetic way. These mediums require specific technical knowledge, skills, specialized tools, and physical strength, which force her into a collaboration with the material rather than a struggle to control it. With metal casting, Banholzer’s hand is in every step of the process, and the element of teamwork inherent to the form aligns with the cultural and communal aspects of her philosophy. Ceramics is crafts-based and functional, and its apparent femininity juxtaposes the masculine and conceptual sides of metalwork, whilst mirroring its era-spanning durability and encapsulation of the artist's hand. Choosing to work with these materials with curiosity, awe, and respect allows her to dialogue with their associations and explore their historically gendered characteristics.