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Jul 6, 2010


I've had the once-in-a-lifetime pleasure of having a film crew come from Austria to work on a documentary they have been filming about my work.  Karin Wally is directing and they have filmed in Vienna, St. Petersburg and now a few cities in Montana, interviewing people about my art.  It was great fun for me, as I didn't have to do anything but talk and keep from tripping over their equipment, at least one of which I did pretty well.  The film won't be released for several months, after dozens of hours of footage are boiled down to a 45 minute piece.  (I hope in the end they decide to keep the parts where people said something nice about me.)

I heard some great interviews in the process, but perhaps my favorite was one with Lyndon Pomeroy, the sculptor under whom I served as apprentice in 1975.  He was born into essentially a pioneer's world and was one of the first welded metal sculptors in America.  He may not be a master at art, but he is a master at being an artist in a place where survival alone was a touch-and-go enterprise.  Now, at 85, he is one of the few yet living who has one foot in an agrarian life that is little different from that of the ancients.  I feel so honored to have learned my craft from him!
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Tim Holmes Studio

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I'm a sculptor/filmmaker living in Montana, USA. I am using art to move the evolution of humanity forward into an increasingly responsive, inclusive and interactive culture. As globalization flattens peoples into a capitalist monoculture I hope to use my art to celebrate historical cultural differences and imagine how we can co-create a rich future together.

I see myself as an artist/philosopher laboring deep in the mines of joy. I've had a good long career of exhibiting work around the world and working on international outreach projects, most notably being the first American to be invited to present a one-person exhibit in the Hermitage Museum. Recently I have turned my attention from simply making metal sculpture to creating films and workshops for engaging communities directly, tinkering with the very ideas and mechanisms behind cultural transformation. I feel that as we face tragic world crises, if the human species favors our imaginative and creative capacities we can cultivate a rich world to enjoy.

For me the deepest satisfaction in making art comes in engaging people's real life concerns rather than providing simple entertainment or decoration. Areas of conflict or tension are particularly ripe for the kind of transformative power that art uniquely carries. I invite any kind of challenge that serves people on a deep level.