It’s a distance from Denver’s Five Points to Paris and Pisa. It’s an even further stretch to imagine a boy stumbling on his future forte by traveling the distance from his haunts in the hood to Europe’s great art meccas. As a youth, John Toms had scarcely a clue, let alone an inspiration, to predict that trek across a couple of continents and an ocean would ultimately lead him back to Denver and his present position as an artist with widespread recognition and acclaim. While the youthful Toms had few designs – let alone Black role models – connected to artistic endeavors, fate and his mother’s encouragement upended early expectations.
While at first blush the journey seems unlikely, closer examination (and hindsight) suggests the outcome isn’t so surprising. Over a decade ago, writer James Ainsworth profiled Toms for the Island of Spice blog. Titled, “John Toms on Art, the Projects, Paris and Liberation,” the piece showcased an artistic spirit whose background in Denver’s projects foretold, rather than foreclosed, a successful artistic career.
Speaking with Toms via telephone, it’s apparent that his upbringing made the trip to Europe and back with him. Alongside the hues and hints of faith, gratitude, and spirituality, empathy and ambiguity also became central characteristics of Toms’ works. It could be argued that the youthful relationships experienced and lessons learned significantly shaped the future artist’s style.
Toms resurrects memories of his elementary education, perhaps an unlikely initiation to world-class artistry. He speaks fondly of Crawford Elementary School, allowing, “I don’t know what got into me [to become an artist].” But even then he says that he realized “a real connection to art.” Aside from that connection, his early years imbued the future artist with an appreciation for community and camaraderie. Compassion and empathy appear in his artistry over a half century later.
Other than lifestyle influences around the neighborhood, Toms encountered few artistic role models. He credits one local example, legendary artist Ed Dwight, as a primary influence. “He’s the king!” Toms enthuses. “The only person my mother took me to.”
Toms wasn’t exposed to many national Black artists. He recalls J.J. Walker’s artistic character on the television show, “Good Times.” Toms observes that he later showed his work with Ernie Brown, the artist who created the majority of the artistry featured on “Good Times.”
Toms relays that his mother pushed him to enlist in the service or attend college. He declined both, and set his sights on the Colorado Institute of Art. The curriculum leaned heavily on design and commercial art, which didn’t much excite the young student. Only three Black students enrolled in the school. Toms told Ainsworth that he felt like a minority even in that minority: “The other two students, they weren’t really Black; they weren’t comprehending my experience from the hood.”
However, when a school program offered the opportunity to spend three and a half months in Europe, Toms jumped at the chance to expand his experiences beyond the hood into foreign – even otherworldly – terrain that he’d never imagined. “That changed my whole world!” exclaims Toms.
Not only did he discover that color was irrelevant (a lesson he carries to this day, observing that Broncos fans “don’t care what color you are. If you have orange and blue, you’re family”), he discovered his passion. He celebrated his 18th birthday in Florence, and toured London and Paris. The cities’ vibrancy impressed the youth, but the artistry galvanized him. Salvador Dali’s work, particularly “Autumn Cannibalism,” ignited Toms’ imagination. To listen to him tell it, it did even more. Dali’s artistry seized his soul. “I never got in depth in what he did,” Toms explains. Instead, he likens it to “absorbing energy” and “vibe,” feeling the brilliance rather than attempting to comprehend or decipher it. It’s a lesson he passes on today. Rather than emulate or replicate another artist’s style, he advises aspiring artists to appreciate that energy and vibe, let it serve as motivation, but create something uniquely their own.
He returned to Denver a changed man. He quit school a quarter shy of graduation. “It didn’t fit my mindset,” he explains. Never enamored of the design and commercial art focus of his studies, he explored other options. According to his website, he “didn’t pick up a paint brush until after his return from Europe,” and began showing his art in 1979. He discovered that this artistry came from passion rather than a textbook. As his style evolved so did his mentors. Aside from Dwight and Dali, Toms positions Chicago artist Annie Lee as a prominent influence, whom he salutes as the “Queen of Folk Art.” Her work “totally blew my mind,” particularly the faceless subjects that enable endless interpretation and imagination.
Other than commissioned pieces, Toms says that he favors faceless protagonists in his artistic scenes. “It’s much easier to see yourself in it without that face,” he says. Viewers can interpret and engage in those works, allowing an immersive experience, even encouraging their own creativity as the work becomes something subjective and unique to each individual.
“I’m a vessel to turn thoughts and feelings into a visual,” Toms explains. It’s interesting to hear a successful artist describe himself as a mere vessel rather than a master. But, self-regard bespeaks his modesty. “I don’t drink my own Kool Aid,” he says. “I’m really not all that.”
DIMENJOHN is Toms’ signature style, 3-D pieces that Ainsworth described as “highly original 3-D combinations of blended sculptures and paintings.” Toms says that despite signs advising people not to touch the 3-D pieces, onlookers invariably ignore the warning and grasp anyway. “People love to touch it and grab it,” he relays with a laugh. While others may be perturbed, even outraged at people’s compulsion, he not only laughs it off, he excuses the potential patrons’ temerity even though it can damage the art. “If I created it I can fix it,” he calmly observes.
It’s obvious that Toms is more than just an incredible artist. His attitude, actions, and activities share a connection to his artistry in that all rest upon and reside within a strong spirituality. He is quick to credit both mentors and organizations that have supported him through the years. He’s keen on giving kudos to the Museum of Boulder for showing his work for an incredible two-and-a-half-year span. He’s especially focused on God and faith. “If you don’t dig it, it’ll be okay when the swelling goes down,” is his mantra for navigating trials and tribulations.
Toms passes it along, nurturing young talent and a stranger on the street with encouragement as much as advice. “We all have something in common,” he explains. “Passion, energy and faith within yourself. That triggers to the next person you meet… I don’t need to know you to give a damn.”
He has reason to express gratitude for his talent and life. His work appears in galleries, shows, and museums across the country. He counts George Duke, Queen Latifah, Dianne Reeves, Wayne Vaden, and a slew of other notables as fans and patrons. The self-proclaimed “rabble rouser” and “maverick” from the hood has come a long way even though he still lives and works within miles of where he began.
He remembers a time when he started showing his work in other cities. People would show surprise when he told them he lived in the Mile High City. “They have Black folks in Denver?” people would ask. “Yes, and they have creative Black folks in Denver,” he responded, mentioning Earth, Wind and Fire as an example. Toms is another obvious and exemplary example, but he leaves his name out. Modesty aside, he doesn’t need to include himself. His artistry speaks for him.
