b., 1961, Akron, Ohio 

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Jamie Lindholm is an American artist and painter creating complex, layered conceptual paintings representing the energy of our interconnections -- emotions, experiences, visuals, memories. The result is not a snapshot of the individual, but rather the entanglement of the totality.  Through the layering of color and the weaving of images, her works relay the connections between subjects and their experiences.

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Lindholm’s art has been exhibited throughout the United States, as well as in Sweden. Her work is in the permanent collections of the International Securities Exchange (NYC), Dancker, Sellew & Douglas (NJ), Somerset County Parks of New Jersey as well as private collections in the United States, Switzerland, Australia, and Sweden. 

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Jamie is a member of the Portrait Society of America, a Signature Status Member of American Women Artists, and a frequent Mentor for the Portrait Society's Cecilia Beau Forum. Her work can be found at Sugarlift NYC.  She currently works from her studio in the greater Denver/Boulder area.

For more than three decades, my approach to painting was to represent a life in a portrait. I didn't want to represent just the subject's likeness, but incorporate their style, their personality, their surroundings, and even their energy.  For the most part, these concepts were represented by pose, color, lighting and objects included in the painting -- typical of most representational portrait work I'd say.
Interestingly, In the process of getting my Masters (Fine Art), I had a bit of an epiphany which compelled me to completely change the way I approach a painting-- that is what you see today.

I work in oil, representing the concepts of the energy of our entanglements.  Memories, places, subjects and emotions, and all of their interconnectedness, woven together.  Interlacing visual threads or strips of images or other elements into a whole. The visual image of a landscape woven with the image of my subject and then recreated in oil onto the panel. Through multiple layers of paint, I am able to gradually emerge the subject from the weave into the viewers plane of awareness with the levels of energy unseen. 

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For example, imagine you are standing looking out a window at the cold, snowy Colorado mountains while remembering the warm sunshine and perfectly clear black-blue water of the Baltic. In that moment, you are energetically in both places at the same time and experiencing both simultaneously, though they are half a world apart.  That conceptual mixing of energies is what this work is about.

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