Creating Connection: Inside 1515’s Portrait Workshop
By Susan McCalmonT
When I founded 1515 Lincoln Gallery, my hope was to bring visual arts, music, literature, and cuisine together to inspire an appetite for immersive creative experiences. On September 12 and 13, our first two-day portrait workshop, Mastering the Portrait, brought that vision to life through painting, discussion, and a shared meal.
Presented as part of our collaboration with Philadelphia’s Studio Incamminati, the workshop was led by Annalisa and Alexander Shanks, daughter and son of the late master painter Nelson Shanks, alongside Studio Incamminati instructor Stephen Bush. Together, they introduced participants to an academic approach to portrait painting developed by Nelson and now taught at the school he founded.
This collaboration held particular significance for me. I first met Nelson in 1984 when he painted my portrait, beginning a friendship that deepened my admiration for his commitment to artistic excellence and education. Welcoming artists who carry that tradition forward brought a personal connection into a new chapter for the gallery.
Over the two days, it was heartening to see the dynamic between instructors and participants, with a deep passion for learning from both. Through demonstrations, one-on-one guidance, and hospitality from the 1515 Bistro, the workshop gave our community an opportunity to experience the tradition firsthand and begin building relationships of their own.
Bringing the Shanks Painting Tradition to Oklahoma City
The workshop complemented our September exhibition, Shanks Family Tradition, which was on view September 10–26. Curated by gallery artist and Studio Incamminati-trained painter Chris Brizzard, the exhibition explored how artistic knowledge is carried forward through mentorship.
The paintings reflected a shared commitment to direct observation and expressive color. The workshop extended that experience by giving participants an opportunity to learn directly from the exhibiting artists and explore their methods.
For participant Jill Womastek, this connection made the workshop especially appealing. “The connection with Chris Brizzard, Studio Incamminati, and 1515 all coming together was the perfect scenario for me to finally attempt to paint the portrait from life,” she shared. “It was a very exciting opportunity.”
Jill explained how the instructors’ demonstrations provided a manageable way to begin: “The demos were excellent, they taught us to describe the form, which helped me get away from too much line drawing and see simple shapes. The extremely limited palette distilled it down to something manageable.”
Her experience speaks to the value of bringing this event to our community. An artist can arrive with an interest in portrait painting and leave with specific techniques to pursue it.
Learning from Three Artists’ Approaches to Portraiture
Although connected through Studio Incamminati, the instructors brought distinct experiences to the workshop. Seeing their approaches together allowed participants to consider how different paths of training could inform a painting.
“Seeing two instructors demo at the same time was interesting,” Jill recalled.
Stephen’s background provided a particularly familiar point of connection for her. “Stephen studied at an atelier similar to how I learned, and you can see the influence in his work as compared to Alexander’s,” she said. “Stephen has a background with indirect painting, like me, and I am very familiar with and an admirer of Richard Lack, whose atelier he attended.”
Jill recognized elements of her own training while observing how Stephen combined them with his studies at Studio Incamminati. “Seeing how that work combined with his Incamminati training was very informative for me,” she added.
Annalisa and Alexander contributed the stories and knowledge they gained as Nelson’s children, which Jill described as invaluable. Their participation gave their techniques a personal dimension, connecting the methods to the people who continue to share them.
I’ve long admired how Studio Incamminati equips artists to build on the knowledge of earlier generations. At the workshop, participants could see that process at work through instructors whose paintings and perspectives were individual, despite sharing a foundation.
Taking New Skills Beyond the Workshop
The workshop demonstrations gave participants a starting point, while personalized instruction helped them apply what they observed. For Jill, an important moment came after her first 20-minute painting session, when Stephen worked with her directly.
That guidance helped her connect the new methods to her own painting, and the lessons have stayed with her even after the workshop.
“I gained the tools to finally paint at our portrait open studio session last week, instead of drawing like I always do,” she shared.
This was especially encouraging to hear. Jill had signed up to attempt painting a portrait from life, and afterward, she took those skills into her own open studio session. For me, this is a meaningful measure of an educational experience: what an artist feels able to do afterward.
Building Community in the Studio and Around the Table
Some of the connections Jill described extended beyond painting techniques. She recognized aspects of her own life in Annalisa’s experience, particularly when Annalisa brought her child, Henry, with her to the workshop.
“I have a 4-year-old,” Jill shared, explaining that she still felt like a new mother figuring out when and how to make art while running a business and teaching.
That moment gave Jill a personal connection to her instructor. “Having Annalisa keeping Henry with her reminded me of me and brought such a sense of family and realness to the experience,” she said. “What could be more inspiring.”
She also spoke warmly about the atmosphere among the group: “It was wonderful. Everyone was kind and helpful, we were in a small space but that didn’t matter. Very friendly and welcoming.”
That openness matters when people are trying unfamiliar methods and sharing work in progress. I wanted participants to feel comfortable learning from the instructors and connecting with one another. Hospitality was an important part of creating that environment.
The gourmet lunch from the 1515 Bistro gave participants time to enjoy a meal together during their break. I developed the Bistro with Chef Zac Williams to unite Italian cuisine with contemporary art, and the workshop brought those two parts of 1515 together.
“The lunch experience was really nice, not having to leave and get back and being fed such a delicious meal,” Jill recalled.
For me, her comments affirm the value of the whole experience. The instruction gave her tools to paint, while the people and food made her feel welcome. Both will influence how we approach future workshops at 1515.
How Our First Workshop Will Shape 2027’s Program
One of the clearest signs of the workshop’s impact came from participants asking when the next workshops would be planned. Along with the waiting list, those inquiries sent an encouraging message: our community wants more opportunities to learn from talented artists and teachers, especially those offering new perspectives.
When asked whether she would attend another workshop at 1515 Lincoln Gallery, Jill’s answer was direct: “I would!”
We’ve heard the enthusiasm, and it’s helping shape our plans for 2027. This was our first workshop of its kind at 1515 LG, and we want to build on it with more in-person workshops and events. We’re also looking into how online educational experiences can extend these conversations beyond Oklahoma City.
In the meantime, there are many ways to get involved with 1515, including our exhibitions, curator talks, live music, poetry gatherings, and Bistro experiences. You don’t need to be an artist to join us; a little curiosity is all that’s needed.
If you missed Mastering the Portrait, I invite you to stay connected. Explore our events page, follow us on social media, and sign up for our monthly newsletter for updates on future offerings. We look forward to welcoming you.
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