Abstract
The seemingly simple act oflooking at artwork with
our own eyes is bound to elicit feelings. In fact, it is the precise intention of the artist to make you feel something! You may be moved to tears, joyfully happy, repulsed, thrilled, angry, appreciative
or perhaps you'll just feel peaceful. Any variety of feelings with subtle emotional shades may result from your visual or tactile engagement of the work. This is true engagement with the art.
Most often engagement is linked to the interest of the viewer in a particular subject area. When the skill of the artist, subject matter and viewer meet on common ground, there's a thrill that is almost electric in its intensity for both parties. It's nearly impossible to describe the connection we feel to the artwork and the artist who clearly has shown us something that speaks to our hearts and minds in a language without words.
We are often moved to talk to the artist to learn more, confirm our thoughts about a mutual connection or understanding. When an artwork mirrors feelings, we want to purchase the art so we can enjoy those feelings again and again. The best parts of our lives revolve around shared experiences and connections to the ideas and things we're passionate about or love.
Wayne Smyth is a premier artist who goes beyond creative skill and moves us with his beautiful renderings of birds. His particular interest and focus is tropical birds. However, Wayne's art has a depth and breadth covering many areas beyond the beautiful bird art he's shared with AFA over the past two decades. We are so fortunate to know this man and benefit
from his generosity in the gift of his artworks to AF A. His work speaks to us about our shared appreciation and love for the birds.
Wayne's a regular at our annual AFA conventions most years and we're lucky enough to be able to pin him down in a chair
at the AFA Store where we make him sign his name over and over on all kinds of goodies! Wayne graciously visits with everyone at these events. He personalizes and signs the annual convention t-shirts for anyone who asks too. Then there are all the other items created with his theme bird images on them that have to get signed. We keep him very busy and well stocked with coffee and water. So far, he hasn't complained.
As a special treat for us, Wayne agreed to answer personal questions about his life, views and his art inspirations and aspirations posed by some AFA members. Get set for a "no holds barred" interview with a great artist. I think you'll find his answers fun and insightful. Enjoy!
FROM GEORGIA HAYES
1. Who is your favorite artist?
WS: John Singer Sargent. Believe it or not, we were born on the same day 100 years apart.
2. What do you look for when choosing a subject?
WS: Usually the subject chooses me. About 95 percent of my work is commissioned. Over the years there have been a lot of 'Match the Drapes' pieces. I think that is one mistake that way too many people make. Art should never match the drapes but stand on its own. But hey, if it's a $200-$300 commissioned piece, I'll match anyone's drapes.
3. What is your favorite medium to work with and why?
WS: I like them all. When I'm in the field and with limited space to schlep everything around, a sketch pad and a small set of watercolors does just fine. In the studio I love working with oils. I love the smell, I love the feel, I love the results. I like to work up a painting in a series of glazes and acrylics lend themselves best to that method because of the drying time.
FROM FRED SMITH
1. How did you become involved in the restoration project? (I don't remember what building it was) How long did it take to complete?
WS: Fred, it was the restoration of the wonderful, old Pantages Theater in Hollywood. It was originally conceived and built by the great impresario, Alexander Pantages, in 1930 and used as one of the nation's top vaudeville houses. For a number of years it hosted the Academy Awards ceremony. In 2001, I was contacted by a large firm in New York asking if I would be available to
work on a big project for about six months in Los Angeles. When they told me what it was I jumped at the chance.
I'd seen various venues there and had always been fascinated by the architecture and the lush art deco
interiors. A team of 60 artisans were gathered from almost as many
countries, it was like working in a mini U.N. Very few of the decorative elements remained undamaged. In the mid-'SOs the marvelous ceiling of the outer lobby was completely covered over causing yet more damage. I restored and replicated the three large paintings above the Proscenium working from Heinsbergen's (the interior designer) original layouts. Also the two large ceiling deco panels in the Grand Promenade and we all worked on applying new gold, silver and copper leafing to the 'miles' of ceiling elements. It was one of my favorite projects that I have ever worked on.