| "When I think about making a painting, I'm also | | | | it was a well-known art center, and famous artists |
| thinking about telling a story," says Chicago artist | | | | from around the world traveled there to paint with |
| Onur Sksal. Young, dedicated, and prolific, Onur is | | | | their contemporaries. By the time Onur and Guzik |
| proficient in landscape and still-life imagery, yet a large | | | | entered the picture, however, the place had declined |
| number of his creations are figurative. "I get a much | | | | somewhat, with only a few devotees still painting in |
| greater emotional response from paintings that | | | | the upstairs studio. |
| include people than from those that don't," he says | | | | After Richard Schmid joined, though, membership |
| simply. However, he feels that a painting does not | | | | grew rapidly. Onur's admiration for Schmid and his |
| have to be an obvious narrative in order to tell a | | | | work is obvious. He also acknowledges getting |
| story. * "Even a portrait can tell a story," Onur | | | | inspiration from other young artists at The Palette |
| explains. "In certain portraits--those by Nicolai Fechin, | | | | and Chisel Academy with whom he often paints the |
| for instance--you can see a whole world in the | | | | model and mounts shows in the school's gallery--he |
| person's expression. The way the sitter is smiling or | | | | calls them 'the masters of the future"--including Guzik, |
| looks sad, the clothes the model is wearing, and even | | | | Rose Frantzen, Dan Gerhartz, Romel DelaTorre, |
| the way he or she is painted--loose or tight, colorful | | | | Clayton Beck, Stephen Giannini, and Susan Lyon. |
| or plain--say volumes about the individual. I love the | | | | Currently, Onur shares an apartment with Lyon, and |
| way information in the painting allows the viewer to | | | | their two bedrooms have been converted to small |
| invent or discover facts about the sitter." He goes on | | | | but comfortable studios. Decorated with |
| to say, "A truly good artist responds to the | | | | reproductions of some of his favorite paintings, |
| personality of the model and therefore might paint | | | | Onur's work space is bathed in wonderful north light |
| different people in different styles." | | | | in which he works from a combination of life, |
| Onur credits his parents with allowing him the | | | | photographs, and sketches. Whenever possible, he |
| freedom to pursue his dreams. "Whatever crazy | | | | prefers to paint his subjects from life, but he finds |
| endeavors were up my sleeve," he says, "my | | | | that works depicting crowds, parades, and action are |
| parents were behind me one hundred percent, | | | | not feasible without photographs or sketches. His |
| encouraging me without pushing. Both of my parents | | | | piece Girls in the Grass, for instance' is a compilation |
| were excited about my talent, but neither pressured | | | | of photographs taken at a festival, and the work In |
| me." Onur's father worked in an advertising agency, | | | | the Garden contains a model painted from life and an |
| and since some of the artists he worked with had | | | | invented background taken from sketches and |
| attended the American Academy of Art in Chicago, | | | | photographs. |
| he suggested his son apply for classes there. "I still | | | | Working in a number of mediums, including oil, |
| remember how nervous I was when I went for my | | | | watercolor, Conte crayon, charcoal, and pastel, Onur |
| school interview," Onur recalls. "Irving Shapiro, who | | | | varies his style greatly--from extremely loose and |
| was then the president of the academy, interviewed | | | | thick to very soft and detailed. Often accomplished |
| me, and he seemed so professional and | | | | with large sable brushes loaded with Winsor & |
| intimidating--he was, and still is, a world-renowned | | | | Newton, Rembrandt, and Utrecht oil paints, the |
| master of watercolor and a noted teacher. I laugh | | | | majority of his pictures happen quickly and |
| about my nervousness now because Irving and his | | | | spontaneously, taking anywhere from one hour to a |
| wife are such warm and wonderful people, and | | | | few days to complete. At times, he works in his |
| they've become good friends of mine. At any rate, I | | | | studio for twelve hours straight, engrossed in a |
| was accepted into the school." | | | | particular painting, but, he says, "there are other days |
| Bill Parks, Onur's life-drawing teacher at the academy, | | | | when I take time off to read, play chess, or go to a |
| was instrumental in his education: He encouraged | | | | movie. These breaks are just as important to my |
| Onur to enter a scholarship contest, which the young | | | | painting as actual work time since they give me a |
| artist promptly entered and won. This first-prize | | | | chance to build up my excitement and energy." |
| award enabled him to attend the academy free of | | | | Above all Onur strives to achieve an emotional |
| charge for a full year. Perhaps more importantly, | | | | response from the viewer, but he stresses that he is |
| Parks taught Onur the basics of drawing, color, and | | | | not painting a message"--his language is purely visual. |
| technique--along with the philosophy that you should | | | | Reflecting on his art career, Onur says his advice to |
| enjoy what you do and that without this love, all the | | | | other artists, or to anyone else, for that matter, |
| knowledge and talent in the world will not make you | | | | comes from the teachers who have inspired him: |
| a true artist. "I wanted to stay in Parks's class for | | | | 'Enjoy what you've chosen to do and follow your |
| four years, but lack of money forced me out in | | | | heart. Taking advice from others on what you should |
| two," says Onur wistfully, "so I feel I never reached | | | | or shouldn't do with your life isn't wise, since others |
| the level of expertise I desired. It amazes me that | | | | can't see into your soul. If your reason for wanting |
| most art schools require only one year of life | | | | to become an artist is money, forget it--you probably |
| drawing. To me, drawing is the most important part | | | | won't become rich." |
| of being an artist, and once you master it, everything | | | | He continues, "Once you've made up your mind that |
| else becomes easy." | | | | being an artist is your choice, paint, paint, paint! My |
| At the start of Onur's second year at the American | | | | philosophy has always been to work toward my |
| Academy, he began a new association that was | | | | dreams, no matter what anyone says, and to have |
| instrumental in his development. "Nancy | | | | fun doing it. If you don't enjoy working toward your |
| Guzik--another student at the Academy--and I began | | | | goals, not only will you find yourself unable to work |
| to paint at The Palette and Chisel Academy of Fine | | | | hard enough to reach those goals, but, if you fall |
| Arts after school and on weekends," he explains. | | | | short of your ultimate expectations, you'll be left with |
| "We learned so much there just by listening to our | | | | nothing. |
| teacher, Richard Schmid, and watching him paint." | | | | "Art is my full-time job," Onur concludes, "and it has |
| Located in a large, old mansion in downtown Chicago, | | | | been for four years. I'm interested in other things, |
| the Palette and Chisel Academy was started nearly | | | | but I know I will always be a working artist. My love |
| one hundred years ago by former students of the | | | | of art is too great for me to ever leave it |
| School of the Art Institute of Chicago. In its heyday, | | | | permanently. |