Art Chowder September | October Issue No. 29 | Page 24

Dave added the project into the parish furniture budget to tide us
over, but the real miracle in this was when my wife said, “Well, let’s do a
press kit. Let’s tell the story and get it out there.” We did, and eventually,
the Portland Oregonian picked up on it and did a short piece for their
Living section of the paper. That got us a couple of phone calls, but when
the story was picked up by the Religious News Wire, it went all over the
country, and funds began to come in. It only took six months, and it was
paid for!
M.J. That’s fabulous! How did you get started working with religious
institutions?
Greg: I think it was in my 30s that I felt the desire to express my
religious faith and art skills to create permanent décor for churches and
hospitals, not the short-lived art of advertising. I knew a few architects
such as Dave Richen - who was very much a mentor to me - and interior
designers who were doing churches and healing environments. Through
them, I discovered a niche market for my creative process. I also
joined a liturgical arts group at a local university where I met creative
professionals in architecture, dance, ceramics, sculpture, fiber, stained
glass, and painting. I enjoyed relating with them and exhibited (when I
got the chance) at local colleges and universities.
M.J.: Your faith is a big part of you, isn’t it?
Greg: Yes. Sometimes people ask me, “What is your faith?” I tell them if
you want to know about my faith, look at my art.
M.J.: Your website also mentions teaching. How did you get into
teaching, and what is your favorite memory from that time?
Greg: I started my teaching career at the local community college. After
giving a few lectures, I was invited to teach a class, then another one, until
that led to my taking over their second-year program. After that, I received
an invitation to teach business graphic design at a local university. I
taught there for 23 years. Courses first included drawing, painting, and
watercolor studies. Then came art appreciation and design concept
courses, which included leading student art and architecture tours to
London and Paris, until I retired from the university in 2015.
I took my art students on tour three times. We’d study architecture, visit
various museums, and stop at historic areas like Westminster Abbey and
the Tate Modern in London. And in Paris, of course, the Louvre, Notre
Dame, and the hilltop of Montmartre where Renoir, Matisse, Monet, Van
Gogh, and Picasso used to have breakfast. I have fond memories of those
trips.
My favorite memory teaching, however, is when I worked with students
who said they could not draw or paint. However, by the end of the term,
they could do anything in art. This was true in all my studio courses.
Everyone rose to the next level of skills. It is always amazing to me what
each student will accomplish with encouragement, a creative atmosphere,
and the confidence they need to express themselves artistically.
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