An Interview With Dan Paulos

1. HOW DID YOU BECOME INTERESTED IN ART?

In the days when I was growing up and attending Catholic Grade School in Sioux City, Iowa, (around 1956), it was very common that most students were interested in, and drawn to Sacred Art. It was part of every grade school student's upbringing. The classrooms and corridors had exquisite reproductions of famous masterpieces - and quality replicas of sculptures and statuary in every nook and cranny. And the convent was filled with unique and rare objects of art. The church, St. Boniface, was the most beautiful "House of God" in the city. It was run by Franciscan Friars - and even to this very day - I remember it for its artistic beauty and grandeur. Add this to the fact that I loved the drama and reverence of the Catholic Church from an early age: this is how I became interested in art.

2. WHAT AGE WERE YOU WHEN YOU FIRST BECAME INTERESTED IN ART?

I'd guess about seven. Already I'd started to study music theory and piano. By eleven I was playing the large pipe organ at the church - and by fourteen I was Head Organist and choir director. So if you're including music as part of my artistic career - seven. As for the visual arts - I was maybe twelve.

3. WHO OR WHAT INSPIRED YOU TO BECOME AN ARTIST?

First of all, my spiritual emotions and my theology which were both formed through the constant practices of the Catholic faith were responsible for leading me to the path of Sacred Art. Secondly, the exquisite silhouettes of the late SISTER MARY JEAN DORCY ignited a deep interest in the field of scissor-cutting. It was Sister Mary Jean who became my mentor, teacher and friend. She prodded me to become an artist.

4. WERE YOU GOOD AT ART WHEN YOU WERE IN GRADE SCHOOL?

Oh!, I thought I was fabulous! But the truth was, unlike most artists, I had no talent and even worse, no skill. It wasn't until years later that I realized how bad I really was! But I studied hard and took to heart all that was gifted to me by my fellow artists. I did have a great desire to be a good artists. And I learned through my mentors who gave their precious time to show me how to worship artistically. When my mentors and friends agreed that I'd "made it" - I knew, deep down, that it was because of their selflessness that I grew into my profession.

5. HOW MUCH DO YOU GET PAID ON AVERAGE PER PAINTING?

On average, my original paper-cuttings are $500.00. I've done several really good pieces that I sold for $3,000.00 a piece. So it depends on how much time and details are involved. If the truth were told ---- many of my pieces are donated to good causes. I think it is important to help others raise funds - so they can help create a better world.

6. HOW LONG HAVE YOU BEEN A PROFESSIONAL ARTIST?

Twenty-five years.

7. WHAT DO YOU CONSIDER TO BE YOUR GREATEST PROFESSIONAL ACHIEVEMENT?

In the late 1980s I had the privilege of meeting MOTHER TERESA OF CALCUTTA. She very much liked my art - and I asked her if she'd consider collaborating on a book about Mary, the Mother of Jesus. She agreed immediately. I used 63 of her inspiring quotations and offset her meditations with my silhouettes. This, I believe, was my greatest achievement. The book, "HE'S PUT THE WHOLE WORLD IN HER HANDS," was translated into Japanese and published in Tokyo. It later was translated into Italian - and was published by the Vatican.

8. ARE THERE ANY OTHER ARTISTS THAT YOU ADMIRE OR LOOK UP TO?

Many. Of course, Sister Mary Jean Dorcy was my all-time favorite black-and-white artist. Then Virginia Broderick who lives in Brookfield, Wisconsin. She's considered one of the greatest Catholic artists in the United States - perhaps the world. Corita Kent was a gem in the 60s. She died in 1986 - but her art lives on. PBS did a film about her art and life. RC Gorman - a Native American artist - who lives in Taos, New Mexico, is excellent. There are several iconographers that I admire: Robert Lentz of Albuquerque, Father William Hart McNichols of New York City, Sister Mary Charles of Duluth and Brother Claude Lane of St. Benedict, Oregon. This is just a few. Here in New Mexico, we are very proud of our Santeros and Santeras. These special artists have dedicated their lives to promoting Sacred/Hispanic Folk Art which has been passed down from generation to generation. There are many quality "Saint-Makers" who I admire, not only as artists, but as quality human beings.

9. HOW DO YOU USE THE ELEMENTS AND PRINCIPLES OF DESIGN TO AFFECT PEOPLE?

As stated earlier, I think the two most important elements in creating successful Sacred Art are drama and reverence. I want my religious images to reach out and touch the viewers. I literally want them to hear the invitation: "Come much closer - I want to give you a hug!" This invitation can be achieved only through planning and executing a design that "works!" Too often artists feel that the more details and ornamentations that are included in the design, the better the finished product. I don't agree. The simpler the design - the better people will understand.

10. HOW DOES YOUR ART REFLECT YOUR BELIEFS?

It is not enough to simply create art for a world that is so desperate for beauty. It is imperative to mingle beauty with social injustice. I feel the need to prod the consciences of the people who look at my work. And ask them to go out and see what they can do to help raze bigotry, selfishness and fear. I continuously create art that makes people uncomfortable. I do cuttings that acknowledge people with AIDS, people who died during the Holocaust, people who are hungry and live on the streets, and Vietnam Veterans who are suffering from a lack of worth. This is not to say that all of my art is sad or dreary. Many of my pieces offer peace and joy. But we cannot forget the suffering. Before my teacher died, she enjoyed seeing my own success. She once said to me: "I was never envious of your success. The only thing of which I was envious was your freedom!" What she meant was, because she was a nun, she could not touch on the social problems of our country. If she had - it would have been considered, in those days, scandalous.

11. HOW DO YOUR BELIEFS REFLECT YOUR ART?

I return to the two credentials: drama and reverence.

12. WHICH DO YOU UTILIZE MORE, OBSERVATION OR IMAGINATION?

Observation is truly the greatest of the gifts. If you have the gift to see with the heart - you won't need imagination. However, those who use imagination also create wonders for the world. Sorry, I do not have an imagination.

13. HOW WOULD YOU DESCRIBE YOUR STYLE?

My work is completely executed in black and white. This is one of the greatest challenges of my medium. My teacher used to tell me: "You're either good at black-and-white, or you're awful! There's no in-between!" Since there are no beautiful colors to soften or enhance the design, Sister Jean hit the nail on the head! My style is stark but embracing. I use strictly silhouetted profiles to translate my inner visions.

14. IS YOUR LIFE RICHER OR MORE SATISFYING BECAUSE OF YOUR ART?

Oh, my! How might one answer this without sounding arrogant? Because of my art, I have had the privilege of meeting great human beings, both celebrities and everyday people. There's hardly a day that passes that someone doesn't tell me that I've affected their lives through my art. It is very humbling, yet difficult to live with. I have always felt that I could never live up to the expectations people have placed on me.

15. DO YOU HAVE ANY OTHER INTERESTS?

Yes, I very much enjoy writing. And music. I love the theater. And good movies.

16. WHAT DID YOU DO AS A PROFESSION BEFORE ART?

I worked at a bank for 16 years in the Item Processing/Computer Department. Bookkeeping and the like.

17. ARE YOU MARRIED? KIDS? PETS?

No, I am not married. I have no children. I have no pets. But I do have a lot of nice friends like you!