ARTS for All, a fun-filled programme featuring artist workshops and demonstrations, returned to the island this week. Geared to all ages and levels of artistic ability, it provides a unique opportunity in this holiday period — attendees have the rare chance to observe, and receive free instruction, from a host of local and overseas artists. A gift to the community, it comes courtesy of Masterworks. This week Mid-Ocean News reporter Heather Wood spoke with participating artist Linda Wilde about her passion for art, her support for Masterworks and her love of our community.Q:How did you become involved with Masterworks?

A: I just love the place. It's so thrilling to be part of the newest museum in the world. I think it's really great what they're doing — giving people the opportunity to have a deep experience with the arts. Some museums allow you to go and just look. I think the best are ones that let you look, explain and then let you create.

Q: Is that what led you to participate in Arts for All?

A: I think a lot of factors went into it. I came to Bermuda eight years ago and not only fell in love with the island itself, but the people of Bermuda. I think they're absolutely incredible. Just the nicest, most down-to-earth, warmest people I've met. I've made many great friends. First, (local artist) Michael Swan, who was very gracious and through him, (Masterworks director) Tom Butterfield — just warm, open people who encouraged me to bring some of my art to the island. They really wanted me to have a deep artistic experience and I was just in heaven teaching there last year. It was great to see so many talented people, to be given such a wonderful opportunity to participate, to be creative and to experience all of it. It was absolutely thrilling for me to see the amount of talent and enthusiasm and I think it will get better and better as the museum grows>

Q: Is teaching your only involvement with Masterworks?

A: No. I'm also working with Tom, building a library for their museum there. I'm asking groups of artist friends for donations for the library museum. I think it's important for people to have a library specialising in not just art history, but art techniques. I think it's another great aspect of the museum.

They're really doing the right thing by having an educational component. It's the best gift they can give to people in the art world. So many people are potentially fabulous artists, but they haven't had the necessary experience yet which will let (their talent) out in whatever form it will take. Especially because it's on a small island, I'm so enthused about helping build a library that will enable people to have immediate, free access to anything they want to know about art history, museum studies and art techniques. I've already sent one small box (of books) and there's another waiting in the living room and more books coming from my various groups. I'm hoping to send maybe even up to 1000 volumes of books.

Artists are usually very helpful people, they like to encourage everybody to get involved and learn more about their field.

Q:Why did you first come to Bermuda?

A: I came as a tourist. I had frequent flyer miles and wanted to go somewhere in the Caribbean but everywhere was booked. I asked what they had and they suggested Bermuda. I flew from New York to the island and, on the plane in a tourist brochure I saw a beautiful painting by Michael Swan. I went to his gallery and saw and loved his work and (coincidentally, was introduced to him a short while later). We became friends.

My introduction to Masterworks was similar. I would always stop at the Botanical Gardens to paint. A couple of years ago I went in, the Gallery was closed but Tom was there. We started chatting — he saw I had all my watercolours and papers — and then when I got on the plane to go back to L.A., he and his wife were sitting next to me. So all these little things have drawn me in, all these art roads pointing to Bermuda. I also had studied quite a lot with the Getty Museum and I was excited to bring that over to the islandB>

Q: Where else did you study?

A: I did some initial work with the Atelier Indiana under its director, Kerry Holsapple. From there I started taking classes with the Getty. I learned Rembrandt drawing techniques where I worked with handmade paper and inks. I've learned egg tempera, gilding techniques, illuminated manuscripts — back in the Medieval Age artists used watercolour and certain gilding techniques on books. I took several classes in that. I've also done miniature techniques and botanical watercolour illustration.

Q: Have you always been interested in art?

A: My sister was a fabulous artist. When I was in law school, I would have to take the bus from school to home and (through those rides) completed one piece of art a year. But I got involved in my profession until one day I had dream (in which it was) said I should do art. I (reasoned that) I like to draw and so that's where I started in 2001. went through intensive training in Indiana. I had a real curiosity about how the old masters worked. There is such a different quality to art from hundreds of years ago. I wanted to go back and trace from the masters, move into the impressionists and then modern artists, experiencing for myself the many different techniques, the types of brushes, the types of paints for myself. I thought it would be a fun, mental progression to go through. And that's one of the reasons why I love Masterworks. They give the opportunity for everybody to experience whatever art they'd like to t

Q: Do you think art is something everyone can do?

A: I think every one is an artist inside, a lot of people just haven't let it come out. And what I think is so great about Masterworks Art for All, is that it includes children but also encourages adults. Frequently as we get older, we forget that when we were babies, before we could walk we would try and fall down and keep trying. Many people think they can't be an artist because they can't draw a straight line. Art is more than drawing straight lines. It's what's inside of you, what you feel, the experience you're having, what you want to communicate to the outside world, and on some level, how you'd like to be remembered. I think it's inside everyone but some of us need more encouragement for it to come out.

Q: Last year as part of the Arts for All programme you gave instruction on egg tempera. What is that?

A: Before they had oil paints, artists would take pigment — a dry powder, be it earth or yellow ochre — and grind it down very fine. They would then take just the yolk of the egg, mix it with bit of water and mix the pigment colour in there. Basically, the best way to do it I think, is to make an under painting (using tones) and then when you cover it over with the pigment mix, you already have the tonal underlay which shows through a beautiful, silky layer of colour.

It dries quickly so you are able to make several thin layers — imagine if you've ever seen an egg yolk spill and wait a while before you wipe it up, it gets pretty hard — and when it's fully developed it might have 30 or 40 layers of colour. Some of the most beautiful paintings we have, have been done with egg tempera — Sandro Boticell Venus and Mars was done that way. The yolk of the egg creates a pretty little yellow sheen which turns hard as rock.

Q: Are you teaching the same this time around?

A: This time I'm teaching botanical illustration using watercolours. I'm going to show them how to make own watercolours — if they like. I'll bring a few samples from the Getty. Botanical illustrations can also extend beyond flora. They can use shells and things like that too. It makes really lovely pictures. I often do them as cards for people. You can buy watercolour paper in the form of a card. They make nice little gifts for people — works oft.

Q: Why did you decide to return for the second Arts for All?

A: I'll use any excuse to come to Bermuda. It's always an adventure. It's just great. It's always my pleasure and privilege to ever be there and now that I'm able to participate, it makes the trip that much more rewarding and worthwhile.

Q: Do you show your work anywhere?

A: I have a gallery I show at out of Carmel, Valley Girls. Most of my stuff is in private collections. I do a lot of portrait work and at the moment, am working on five portrait commisss.

Q: You're a judge — how do you find the time to fit it all in?

A: I have a very full life. I think because I do the intellectual work all day, my artwork is the greatest relaxation to me. It beats sleep. Frequently I find I look at the clock and it's well after midnight and I'm still painting away. I love the artwork so much I often do find myself getting carried away.

Q: Are either of your parents artists?

A: My mother did paint a little. She was an amateur painter. My father's a mathematan.

Q: Is it easy to learn art as an adult?

A: There are certain tricks, things that are almost always true — the edge of a person's mouth is almost always lined up with their pupils, the nostril is frequently lined up with the inside of the eye.

When you do portraits, you look at little features.You think of it as a jigsaw. At the end, all the pieces must meet, you have to put the edges all together, to measure things in relationship to each other.

I think lot of people have a fear of making a mistake but if you don't commit too soon and just keep enjoying the experience instead of worrying about having a line in the right place — at the end, it's all about the process.

end result will come, maybe not the first time but with more practice, you will see very quickly how much better you will get.

I've been to many drawings of live models and, depending on where a person's standing, each perspective is very different. The end result isn't just a picture of the model, it's also some of the artists themselves. And eventually, if you do portraits, you'll come to see that each is part of the model and part of who you are that goes into the picture too.

Q: Did you watch any of the artist demonstrations at Art for All last year?

A: I got to see Otto Trott last year. It was interesting for me because on my first trip to Bermuda I stopped at his gallery and bought one of his paintings. In fact, every time I go to any place I try and find a piece of art. That's how I end up with my sonirs.

Q: Any advice for people who intend to participate in your class?

A: What happened last year is that everyone came in full of enthusiasm, they had so much concentration and so what we were able to do in three hours was great.

Ms Wilde's class on botanical illustration in watercolour will be offered tomorrow in the Horticultural Hall at the Botanical Gardens between 11 a.m. and 2 p.m. The class is open to teenagers and adults. Interested persons may register by calling 236-2950. Admission free.