After my time in Vietnam, I planned to attend art school and was accepted at the Chicago Institute of Art, Kansas City Art Institute, San Francisco Institute of Art, and Colorado Institute of Art. Colorado captured my interest, and I was impressed by the students’ work. The idea of having only 30 students at a time with a waiting list appealed to me. My portfolio was enriched by the pieces I created while enrolled in the Minneapolis School of Art Correspondence program, which I later discovered was taught by renowned artists of the time.

In high school, I took art classes three times and received my first A. In the late 50s, I became a regular viewer of Jon Gnagy’s TV show, “Learning How to Draw.” For most of my birthdays and Christmases, I received his books and art supplies. I joined the Navy to access the GI Bill for art school and introduced myself as an artist. My early artistic endeavors were encouraged by family and friends, including my babysitter, Lynn, who would draw with me. Over time, my artwork adorned the walls of my family’s dining rooms, and my mother even had one of my pen and ink drawings featured on the cover of our local newspaper.

John Jellico, the founder of the Colorado Institute of Art, became a lifelong mentor. He grew up in Northern New Mexico during Taos’ artistic heyday and wrote about prominent artists in American Artist Magazine and Artists of the Golden Rockies. While serving in the Army Air Corps, he created murals for chapels across the country. Before his service, he attended the Phoenix Art Institute in New York City, where he was the life drawing proctor for Norman Rockwell’s class.

Rockwell had a significant impact on Jellico’s artistic development, emphasizing the importance of training the eye to coordinate with the hand while drawing. This lesson was later passed on to Jellico’s students, including myself. In 1956, Jellico and illustrator Harvey Dunn founded the Colorado Institute of Art in downtown Denver. When Norman Rockwell learned that the Art Directors Club of Denver did not recognize the new school, he sent a collection of his work to Jellico for display at the institute.

From 1968 to 1970, I studied at the Colorado Institute of Art under the guidance of many esteemed teachers, including Dane Clark, Ted Tourtellot, Ned Jacobs, Buffalo Kaplinsky, Jon Zahorek, Ramon Kelly, and a renowned watercolor teacher from Colorado Springs, among others.

The Institute required applicants to submit a portfolio showcasing their abilities and dedication to art. Only 30 students were accepted for each start date, and the program was divided into three segments: beginner, intermediate, and portfolio development. Students had to demonstrate competency at each level before advancing to the next, and ultimately, only 15 of us graduated. All of us went on to have successful careers as artists. Some of my classmates, like Sean Shea, Rodger McCoy, Martha McCoy, Harold Bean, Denis Masel, and myself, later became key teachers at the Institute starting in 1977. Other notable graduates from my class include Bruce Beck and Rod Goebel.

Before graduating, I already had a job at a small advertising company doing production work, followed by a position at a publishing company. I also spent several years as an assistant to the artist in residence in Denver’s Larimer Square District, where we provided artistic consultation to new businesses. This was my first formal fine art studio. Later, I worked as a one-man art department at Barnum Publishing and then at Publishers Press. During a recession, I turned to teaching art through local department stores, which eventually led to a position as Arts and Crafts Coordinator for the City of Lakewood, Colorado.

In 1977, Rodger McCoy asked me to join the developing faculty of the Colorado Institute of Art, which had recently been acquired by Educational Management Corporation. They aimed to evolve the curriculum while maintaining the portfolio requirements for admission and graduation. This continued until the early 90s, and it was a fantastic time to teach. My approach to teaching was student-centered, focusing on fulfilling each student’s dream of becoming an artist.

Jim Graft, the Director of Education and Department Head for Graphic Arts and Visual Arts Programs, played a key role in fostering a supportive and excellence-driven environment at the Institute. Cheryl Murphy, the Institute’s President, also encouraged growth and collaboration among faculty and staff. In 1982, our school ranked second in the nation in our category, just behind Pratt.

However, the introduction of federal financial aid programs marked the beginning of the Institute’s decline. The two significant changes were the elimination of portfolio requirements for admission and the lowering of portfolio standards for graduation. It shifted the focus from the quality of work to simply achieving a passing grade.

Our team of teachers at the Institute was exceptional, with each one chosen by Mr. Graft for their unique talents in various subject areas. Life drawing was led by Rodger McCoy, color theory by Ellen Olson, advertising design by Dean Erickson, graphic design by Jean Zella, art history and perspective by Dennis Masel, photography by Dick Nosbisch, composition by Lynn Kircher and final portfolio by Janet Tacket.

Our curriculum was cohesive and constantly evolving, thanks to the valuable input of our talented faculty. Some notable life drawing instructors include Rene Bruin, Doug Dawson, Liz Miccio, Kit Hevron, Ivy Delon, Don Long, Glenna Burton, and Judith Scott. Other memorable faculty members were Bob Hemlock, Martha McCoy, Harold Bean, Randy Moyle, Sharon Di Orio, and Dana Green.

As part of the “Arts Institutes” community of seven art schools, we participated in a poster competition for the Aspen International Design Conference, judged by industry leaders like Herb Lubalin, Ivan Chermayif, Saul Bass, Milton Glasser, and Bob Peak. We consistently won most of the awards, and there was even talk of sharing our educational model with other schools. My students allowed me to push them to achieve the highest standards of excellence, and this experience shaped me as an artist and a person.

One of my most memorable experiences was leading our European Study program in 1980, representing all seven schools in a three-month program that began in Rome. The trip to the Vatican, particularly the Sistine Chapel, deeply moved me. Later, in Florence, I had the opportunity to spend three hours alone with Michelangelo’s sketches and studies, which taught me the value of developing ideas through study.

In 1980, upon my return, I was selected by Jim Graft as the in-house faculty trainer, a role I held for 15 years. Later, after resigning in 1997, I continued to work as a faculty trainer at Bel Rea Veterinary Institute for 20 years. Now, I teach workshops based on the concept of “the work is the teacher” and help students use the insights offered by their own work to follow their passions. Art is a special journey, and the creation process itself brings the greatest joy.

A particularly special time for me was when the Institute initiated a Freshman experience course, and I was chosen to teach it. After being trained in Kansas City using the text “Becoming a Master Student,” I joined the training staff and even became a breakout lecturer at future national events. This led to a part-time role as an educational consultant for Houghton Mifflin, and it was during this period that I focused more on my sculpture. John Jellico’s advice to pursue sculpture led me to become a commissioned sculptor, a career I continue to this day.

In the early 90s, the Institute’s focus shifted towards an economic model rather than a student-centered one. In 1997, with my wife Jane’s support and a new commission, I resigned. I asked to graduate with my last class in 1996, having taught 53 different courses over 19 years. My time at the Institute ended, and it was a significant chapter in my life as an artist.

Now, I’d like to share the story of Jaroso. In 1980, my family and I would camp on our raw land in New Mexico, near Taos. Jane had purchased the land before we married, and she would share stories of her adventures while camping there. One story involved her search for a ditch near a small town where wild asparagus grew. After several unsuccessful attempts to rediscover the location, we decided to explore as a family in 1986.

Following ditches and power lines, we found ourselves in a quaint little town, reminiscent of the old west, complete with a row of pine trees running down the middle of the road. We instantly fell in love with the enchanting place.

By the way, there was and still is wild asparagus in those ditches. When asked how I found Jaroso, I respond, “hunting for wild asparagus.” We purchased our first buildings in Jaroso in 1986, including the old bank and the land development office. When we inquired about the properties, we discovered that the Seventh Day Adventist Church owned them. Their main office was in Denver, and when we asked if the properties were for sale, they agreed. We made an offer of $3,000, which they accepted, and even offered to finance.

We were also interested in a turn-of-the-century Model T mechanics garage across the street from the bank, but the owner wanted to sell all five buildings on his side of the street. We made an offer, but he had received a higher offer that ultimately didn’t go through.

Next, we contacted our friends Henry Wolbert, Kathy Park, Bob, and Gunnel Lynn, all fellow artists. After visiting the bank, they were captivated by the place. We assessed the buildings and made a group offer, which was eventually accepted by the owner’s daughter after both her parents passed away.

We then embarked on restoring all the buildings, focusing on converting the old garage into a studio. With the help of artist and friend Larry Randolph, we designed and built our dream studio. The construction started in 1988 and lasted until 1997, while I was still teaching at the Institute. We would save money and plan phases of construction, with me taking summers off from teaching to work on the project. Warren Arcila, a former student whom I introduced to Jaroso around 1991, also joined us.