James- Allan Holmes Implements Lessons from his Personal Artistic Transformation to a new Leadership Role in the Denver Arts Community
PHOTOGRAPHED BY ESTHER LEE LEACH
WRIITE BY ANNIE BLOJ // CULTURE & STYLE EDITOR
James-Allan Holmes is a natural artist, at ease in his studio. Having been involved in the Denver art scene for decades, his comfort with a paintbrush may have come as a surprise to those around him before he embarked on his creative journey. Recently, a deep sense of community and dedication to providing resources for Denver creatives has led him to take on a larger role on behalf of Denver artists. His future as the President of the Art District on Santa Fe Board offers the opportunity to preserve the rich traditions of Denver artists while acknowledging the changing landscape of our city.
Annie Bloj: James- Allan Holmes, your path as an artist is fairly recent and stems from physical trauma, can you share your artist origin story?
James Holmes: My artist origin story began on a perfect Saturday afternoon in February 2018 because of a freak equestrian accident that resulted in a broken neck and mild head injury for me, and an unexpected journey into the life of a working visual artist. Although I have been heavily involved in the Denver Arts community for more than twenty years, I had never been an artist nor had any inclination to become an artist. At the suggestion of my mom, and with the encouragement of my wife, Wendy, I began painting to simply pass time during a long recovery in convalescence at home following emergency surgery.
Following twelve full months of painting and sharing my paintings on social media, a friend persuaded me to submit my work for inclusion in a collaborative show with a small group of artists. The show was a success that included the sale of four paintings as well as a People's Choice Award for the show. Denver artist Espino Arte introduced me to the Veteran’s Arts Council. My art career was launched then and has since evolved to become a major part of my life.
AB: Painting was a path that helped your healing process and you’ve had the opportunity to show your work in spaces such as Parker Adventist Hospital and the Veterans Arts Council Gallery, among other institutions. What impact do you think your work has on a patient’s recovery process?
JH: One of the greatest gifts creating paintings has given me is aiding in my healing on both a physical and emotional level. There is something unique that occurs for us as we enter into a creative practice, or spend time observing or listening to creative work, which leads to healing within mind and body. I produce work that is generous and optimistic with the hope that it can provide the same outcome for others. My paintings are often described as “happy paintings,” which I take as an affirming compliment that my intentions are being manifested.
My solo exhibit at the Centura Health Healing Gallery at Parker Adventist Hospital opened in the early days of the pandemic and as a result, we were unable to host an opening reception or receive the general public to view the show. The remarkable consequence of the restriction was that the show remained at the gallery for nearly a year and became a place of contemplation and rest for the medical staff, frontline workers, and patients of the hospital throughout 2020. Once I was able to return to the hospital, I heard numerous stories from the hospital staff sharing how the exhibit helped them and the patients in many meaningful ways.
AB: How has the Denver artist community evolved over the past couple of years? How have you found your community?
JH: The past two years have presented many challenges both with the pandemic and the social unrest resulting from the murder of George Floyd, the resulting civil demonstrations, and eventual prosecution and trial. Artists have always served as a beacon for our collective consciousness and witnessing the evolution and activism across the Denver arts community has been inspiring.
One great example of the evolution is the Denver Art Museum’s launch of a comprehensive roadmap to equity and inclusion which has impacted every aspect of the museum operation from staff to curatorial empowerment, board engagement, and public awareness. The results of their ongoing work will result in an even more diverse, open, and inclusive institution. As a Trustee of the Denver Art Museum for nearly two decades, I have witnessed and participated in the long arch of the institution’s transformation into what I feel is a model for other museums to follow.
Individual artists have created powerful work offering commentary on the political and social events of our present moments, and I have seen artists whose body of work has evolved to a more vocal tone with greater intention.
AB: Very soon, you will become the President of the Art District on Santa Fe Board. What goals do you have for this position?
JH: The Art District on Santa Fe (ADSF) is vital to our thriving art community in Denver and having an opportunity to serve as the President of the ADSF Board is an honor. I hold the belief that at both the State and local level the art district and property owners in the district should be supported on an economic level through tax policy, grants, and other measures to ensure that the area isn’t depleted of galleries, artists studios, and art-related businesses. The current real estate development pressures and property tax increases have made it difficult for many in the district. I am determined to work with all stakeholders for the sustainability of the Art District on Santa Fe.
Shaina Belton, the outgoing ADSF President, has done a remarkable job to ensure that the district is on solid financial and operational ground, I intend to with our board to build upon her successes as we expand our board, diversify our funding sources, support our staff, and implement our recently adopted strategic plan.
AB: How do you see your work maturing and moving forward? What is inspiring to you these days?
JH: I just completed a successful solo show at D’Art Gallery in Denver presenting work from my Lifeline series of paintings. The broad acceptance of the work has inspired me to transition to a new series of paintings I have been contemplating which I intend to title Origins.
The Origins series will draw upon my ancestral roots using the visual beauty and significance of African Shona Sculptures and African textiles to create a narrative addressing the significance of one's native culture to one's identity and ancient lineage. The paintings will be colorful, bold, and executed on a large scale. As I have contemplated this work, I have felt drawn to genealogical research and extensive documentation to share what I am learning about my origins, which will allow viewers of my work to interpret the work more reliably.
Through my painting practice, I have developed a visual language using colors and textures to evoke from the viewer a range of responses that reflect on their perceptions. My role is to be evocative, generous, and open by creating from my heart to present authentic work, and to care for the community through acts of service. I believe that living with art is a profound act of self-love, and I am honored to contribute to the community in ways that make living with art possible for the broadest number of people.
AB: James- Allan Holmes, thank you so much for taking the time to speak with Cherry Creek Fashion and share your thoughts on what is a quickly moving art scene here in Denver. I know that you will have a lasting and incredibly positive impact on the community, one rooted in protecting and preserving with an eye toward innovation.
James-Allan Holmes: @jamesholmesstudio