“Since the days of cave paintings, the human form has played an important role in artistic creativity; in painting, in sculpture, in dance. The various physical states of being, the infinite variety of positions, illumination and environmental placement, will evoke any number of immediate emotional responses from an observer. We all share in the fact that we are human and our first line of universal communication is through a gesture, a posture, a facial expression. A small change in the angle of a head or a tilt of the hips can completely change the emotional quality of a gesture.

One of biggest challenges an artist can confront is depicting the human form. Painting, drawing and sculpture allows for many types of stylistic interpretation, but really trying to capture the essence of gesture and the personality of facial expression can be a frustrating pursuit. Like learning to play a musical instrument, drawing, painting and sculpting must be practiced in order to achieve any degree of facility of craft. For that reason, I made arrangements to meet with other artists in my studio on a regular basis to practice working from a live model. Artists and art schools have done this for centuries, and still continue this practice. In doing this at my studio I am able to make sure I can get in my painting time with the added benefit of maintaining a social connection with like-minded artists.

Drawing and painting can be a very solitary experience, but less so when it's done in a group. During our sessions we often paint side by side in silence for long stretches, like students in a library. When we stop for a break we enjoy the camaraderie of the other artists and compare notes about our work. Sometimes we will break the silence while working and chat while still at our easels. A little bit of that can be beneficial for some. It can relax us and helps us to connect with all the creative energy in the room.

In focusing attention on another human being in the act of drawing, painting or sculpting the human form, an artist can feel a release from the sense of self and his or her usual conscious preoccupations. The concern is for the person perceived, the work created, and connection of shared humanity. Ideally the artist will go beyond just making something that resembles a particular person, creating art that evokes a universal feeling or emotion that transcends the outer surface.

It’s easy to lose track of time when we meet to paint — a three hour session goes by in a flash.”
— Paul Schulenburg