Artist Spotlight: Tracy Ann Holmes
By Kathie Scrimgeour
By Kathie Scrimgeour
Tracy Holmes is a ceramicist and watercolor artist. Since a young age she was drawing. Her kindergarten teacher complained that she was drawing too much during lessons so she has always been an artist. She majored in art at BYU with an emphasis in ceramics, and also studied many other mediums and found her other love–watercolors. One of her life long goals was to have a solo show. “Meditation & Metaphor” is at the Tucson J with 144 pieces, now through September 27, 2026.
Q. What are the major influences behind your work? Are there specific artists movements, or personal experiences that inspire you?
A. Inspiration comes from the beauty around me, life’s challenges and my faith. I strive for my sculptural work to not spell everything out so the viewer can bring their own interpretation to the piece. Adrian Arleo is one of my favorite ceramic artists who does fabulous and evocative figurative sculpture.
Q. How do you decide on the themes or subjects of your pieces? Is there a particular message you aim to convey?
A. I really have two ways that I work: literally and metaphorically. My watercolors are an exploration of the world around me and are quite realistic with an extra splash of color. My ceramics are where I play with visual metaphors. As I study, listen to talks, read or have a life experience that needs processing, I will create a sculpture that portrays that concept. Themes I explore are endurance, self-love, trust in God and embracing vulnerability.
Q. Could you describe a project or piece that was particularly challenging for you? How did you overcome the challenges?
A. My piece “A Woman Loved” is my largest figurative sculpture piece I’ve done. She is a wall hanging and the bottom of the sculpture is an asymmetrical skirt. I had to build her in two pieces. The hips and skirt were built upside down so I could do a lacy, delicate hem line. Months of work were put into making hundreds of press-molded flowers (I had some help, thank goodness!). I made additional flowers to cover the seam at her waist. After firing I made a special stand to support the skirt and then epoxied her together. Lots of painting and then to figure out the logistics of hanging her in a gallery that uses only a wire system and doesn't allow lag bolts in the wall. Lifting her is half the battle–she weighs close to 70lbs (thanks to my husband)!
Q. What is your creative process like, from initial idea to finished piece? Do you have any rituals or routines?
A. I love to explore Catalina State Park and the AZ Sonoran Desert Museum with my camera. Those photos become references for my paintings. My watercolors are started as light pencil drawings on Arches 300lb paper. Then, using vibrant Winsor & Newton paints, I have fun with control versus the serendipity that happens when pigment meets water. My ceramic sculptures are started as sketches. I often photograph a model in the pose. I build using slab and coil building techniques plus press-molds for repetitive elements.
Q. How has your work evolved over time, and are there any specific milestones that marked significant changes?
A. A big milestone for me was to stop trying to make art that I think people will buy and instead to make art that I’m passionate about and brings me joy. The viewer can sense that in my work and those are the pieces that sell.
Q. What role does experimentation play in your art? Have you recently tried any new techniques or approaches?
A. I took a workshop last summer with Adrian Arleo and she said: “You are making a sculpture–not a mug or plate, it does not need to be glazed”. Light bulb moment! Glazing ceramic pieces was always my go to method but often came out lumpy, the color burned out or the glaze is so thick that details are lost. She introduced me to Casein paints that can be thinned and applied like watercolors, but stay vibrant and are permanent. I took an online class by Tomas Barcelo, on surface treatments for sculpture, where I learned about spray chalk paint, faux patinas and to loosen up. I am now using a base coat of spray chalk paint on my fired pieces and it accepts the casein paint beautifully–finally a marriage of my watercolor techniques with my sculptures!
Q. How do you stay motivated and continue finding inspiration, especially during creative blocks?
A. Just keep working. Look at past sketch books and build something you thought of before. The more you work, the more the ideas come.
Q. What advice would you give to aspiring artists who are just starting their own creative journeys?
A. Schedule studio time. You can’t improve if you are not working. It takes time to develop your style. When your artwork all looks like it is from the same artist you are ready to approach galleries. It won’t all be fun. It is hard work and it takes trial and error to find solutions. Don’t be upset if the final product is not how you envisioned–it is a step forward and enjoy the process!
Q. How long have you been a SAAG member and how has it benefited you as an artist?
A.I have been a SAAG member for 8 years and the interactions and advice from other artists has been invaluable. Eight years ago, I started my journey to becoming a full-time professional artist. Being in the SAAG Gallery helped me refine my body of work and how to price my artwork. Talking to one of my fellow SAAG members about my life-long goal to do a solo show and he suggested a venue. That led to me currently having my solo show “Meditation & Metaphor” at the Tucson J with 144 pieces (8/20/26-9/27/26)!
Follow Tracy on Instagram: @tracyannholmes
For more information on her show: tracyannholmes.com
