A multidisciplinary artist, Jamie Holman Studios seeks
to make visible the exciting connection and
propositions that manifest when heritage collides with
contemporary practice. His research often proposes
the emergence of culture through the celebration of
topics & movements including subcultures, trades
unions, folklore, activism, mill workers, football, labour
& poetry.

Jamie’s work includes deep research particularly into
archives, often resulting in the discovery of unknown
working class histories and stories of individuals who
have impacted the future of our nation, it’s culture and
communities. This has included the discovery that the
first Western' film ever made was not, as previously
recorded; The Great Train Robbery made in America -
but was a 2.5 minute short film made in Blackburn,
England by two Edwardian film makers called Mitchell
and Kenyon. His research is then manifested into
multi-disciplinary artworks made in collaboration with
fabricators, crafts people and his studio team
‘Uncultured Creatives.’

He often works in collaboration with communities,
many of whom are categorised as not engaging in art -
whilst avoiding twee approaches to co-design and
participation. His work challenges this, and other
preconceptions about cultural engagement. He deeply

understands how to work successfully and
professionally with stakeholders and clients.
Recent commissions include ‘Wonderful Electric’ a
four-part commission for the capital development of
Blackburn Youth Zone, and his solo exhibition
‘Contagious Acts’ at The Whitaker.
Jamie Holman’s work has been acquired by public and
private collections, and is currently held by The
Government Art Collection, Arts Council England
Collection, Blackburn Museum and Gallery, and
Manchester Art Gallery.

During his 2024 residency in Islamabad with In-Situ -
Jamie worked in collaboration with makers to crate
artworks. Hand made footballs from Sialkot Pakistan
were painted in the ‘truck art’ vernacular. The balls are
turned ‘inside out’ to reveal the craft and cultures
contained in the ball - as vessel for identity. Holman
questions the accepted history of working class
cultures and communities - and the impact of
nostalgia on forming identity and politics. Holman’s
research into football as a post industrial working
class culture, places hijabi women at the origin point,
disrupting the ‘white male’ history associated with the
game.