Pastel Artist International now International Artist Magazine
					In the Public Eye
			Art can be a powerful force for social change. Knowing this, I tend to create whole series of paintings that revolve around issues that are important to me. It’s my way of encouraging, while gently promoting awareness, among my viewers. But my work usually involves scenes of people in action, which means painting on location under the watchful eyes of onlookers. Painting in front of others this way can be a bit unnerving, but it’s worth the effort when I see the rewards of creating art that has a positive influence on the public. Get out of your box My most recent cause is literacy, a campaign that springs for personal experience. Whenever I visit a library, I sense a certain mystery there--a drama, a yearning for discovery, and even at whispers among its patrons. I’ve never felt anything quite like a library’s mood in any other setting. I’m striving to capture this intangible aura in my series called “The Art of Literacy”. My hope is that this art will serve as a guidepost, directing people to the abundant resources of inspiration and wisdom found in every public library. Naturally, I paint directly from life in order to capture the essence and appeal of this setting, but working in the public arena can be somewhat intimidating. Fortunately, I had an outstanding art teacher in high school who regularly took us outdoors to sketch the scenes in my childhood home of Winfield, Kansas. And since that time, I’ve spent most of my adult life working under the scrutiny of producer, directors, coordinators and a host of other movie moguls and corporate brass. Thanks to these experiences, I’m accustomed to having people look over my shoulder and, of course, offer their critiques and advice. If, however, you’re uncomfortable breaking out of your studio and working in public (which, as quiet as it’s kept, is the reason why some artists work from photographs), you might want to join an art organization that sponsors group excursions into the wild--urban, suburban and otherwise. You’ll probably find that other artists in the group share your feelings, so you’ll overcome you inhibitions. Once you get out there, you’ll find you usually receive encouragement from onlookers. If, by chance, some know-it-alls level brutal attacks against your efforts, don’t be discouraged, they’re often motivate by jealousy. Regardless of the responses, I guarantee you’ll find the experience of being a public artist absolutely invigorating. On looking and seeing When you start doing candid sketches, you’ll quickly learn that many people seem to have a sixth sense that tells them when someone is looking at them. To avoid scaring people off, you must learn the technique of seeing without looking. Looking is merely observing physical traits. Seeing is sensing the personality, the emotions and the thoughts flowing from the person you’re observing. Aside from the physical evidence, train yourself to try to see (or sense) the person’s purpose. For example, in sketching for “Iron Sharpens Iron”, on page 27, I observed the interaction between the young ladies in the blue and green. I sensed that one was offering advice to the other, while the young woman in the red had only a passive interest in the conversation. While I meant merely to approximate their form (physical features), I did endeavor to portray their souls. I emphasized what I saw over what I emphasized what I saw over what I looked at. Into the groove Once I’m back in the studio, though, my on-site sketches are merely a springboard for a more interpretive kind of art. I reach a state of “performance” in which, like a talented improvisational musician, I transcend the mechanics of technique and enter into what musicians often call “the groove”. You’ve probably experienced it, too--that pleasurable moment when creative juices start to flow., When you’re in the groove, you find your direction, and thoughts of restarting the painting from scratch or even destroying it leave your mind. You also establish a color theme with a fixed palette, and any attempt to introduce a new color is met with resistance by the painting itself. On the coat-tails of this awakening comes the point when the painting takes on a personality of its own. It tells you what colors, shapes and values will best display its character. I can best describe it as a romance--a mutual give and receive between the artwork and the artist. From the heart Working in the groove is an incredible sensation that leads to art with a deeply heartfelt message. This kind of art has the power to awaken people to concepts and ideas they may not have otherwise noticed, and may even be the impetus for action. But it all begins with a moment taken from real life. I know of no better experience than using pastels to sensitively capture and communicate what’s in my heart.