"I need this sharpened!"

Artist David Holt is polite, but his request has the urgency of a surgeon in focus. His pencil dulled while deep in a new piece. A smartly dressed, bespectacled young woman with dark, short-cropped hair swoops in, grabs Holt’s utensil and quickly returns it tip-sharp before moving on to attend to another artist’s needs.

Instrument gripped awkwardly tight in hand, Holt sets back to work.

Situated at the back of a large studio space shared by a dozen-plus artists, Holt’s workstation full of colored pencils, erasers, paints, newspaper clippings, in-process works and more has a widescreen view of a hustle-bustle that includes arts administrators and patrons. Holt is oblivious, though, instead devoting himself entirely to his latest project — a commissioned portrait of a man seated directly in front of him.

Body bent at a near 90-degree angle, Holt hovers, his face over the sketchbook lying across his lap. His pencil digs hard with audible scrapes. Wax paper used to prevent smudging from his drawing hands crinkles. At intervals, the drawing is banged on the side of a metal trashcan — the quick blasts removing excess pencils shavings from the page.

Verbal interactions are gesticulated, but very brief, with Holt inquiring only about eye, hair or pant color, or from where his subject hails. However, he’s quick to discuss his work and influences when pressed. Again, only in short bursts. He quietly sings and talks to himself often.

A lanky 6 feet, 5 inches tall or so, Holt is all arms and legs. He’s a striking, but immediately friendly figure. The black beret and bright red clown nose planted on his head add to his charm.

Despite his openness and positive demeanor, Holt almost never makes eye contact with his subject. The congeniality is marked by cautious reserve. It’s a trait that he shares with many of his surrounding artists. David Holt has autism, and Project Onward is his artistic home.

Project Onward is one of Chicago’s unsung shining lights — a beacon for adult artists with mental and/or physical disabilities that provides all manner of support from studio space and supplies to professional mentoring and promotion.

Their large location on the first floor of the Chicago Cultural Center is a swarming hive of activity divided into two halves, an open studio where the artists develop their crafts and an adjacent gallery where the finished work is sold to the public—with 70 percent of the proceeds benefiting the artists directly.

Observed casually on a cold December afternoon, Project Onward looks the model of success. Simply put: they’re busy.

Some artists work on projects, while others mingle in the gallery, chatting up the large number of curious passersby and customers eager to snatch up some of the incredibly inexpensive, but absolutely exquisite paintings, drawings, sculptures and more as holiday gifts.

This hurried activity didn’t spring overnight, of course.

Project Onward’s roots stretch back to 2004, when it began as an offshoot of Gallery 37, the City of Chicago’s arts training and mentoring program for city youth. Employees Rob Lentz and Mark Jackson — both grads of the School of the Art Institute of Chicago — were impressed with the unselfconscious, free art created by the program’s students, and they created Project Onward to foster such unique work. A marked difference between their new program and its progenitor was the lack of an age cap, allowing those who “aged out” of Gallery 37 to find continued support.

Running out of Gallery 37’s space on East Randolph Street, Project Onward saw immediate success as its eight initial artists received recognition beyond their walls. Within one year, the program was unexpectedly stretched at the seams. Luckily, salvation came from across the street.

The Chicago Cultural Center offered space on its second floor to the growing upstart in 2005. When 2008 saw further growth, the program moved to its current location — an expanse that once housed the Museum of Broadcast Communication.

Project Onward’s artists — currently 32 total, mostly male — are affected by a spectrum of mental and physical disabilities, including autism, bipolar disorder, schizophrenia, depression, and Down syndrome. Lentz, the program’s director, is quick to dispel notions that the disabilities hinder the program’s roster artistically.

“We’re here to demystify disability. They’re artists first, and have other issues second,” says Lentz with quiet, matter-of-fact directness.

The dual nature of Project Onward’s space enhances this notion, allowing for positive interactions between artists and patrons.

“It’s great for the artists to work where their art is being admired,” says Lentz. “It helps to break down stereotypes.”

Project Onward’s popular portrait special helps, as well. For only $10, one of the artists will draw a patron’s portrait on the spot. These one-on-one experiences break divides and preconceived notions on both sides of the easel.

Project Onward’s admission process and subsequent artist development are an extension of this dedication. Artists are still recruited from Gallery 37, but some are referred from counselors and therapists who recognize their patients’ creative spark.

However, much like a traditional art school, a quality portfolio, strong vision and desire to grow artistically are paramount for admission. And mandatory. The current Project Onward artists are a reflection of this strict, but encouraging mission.

James Allen’s acclaimed photorealist sketches of Chicago subways and rail yards have been featured in galleries in Chicago, New York and Paris. Fernando Ramirez’s bright, jaw-dropping paintings that turn eyes towards his native Mexico have been commissioned for Mayor Daley, former Governor George Ryan, British Prime Minister Tony Blair, Rahm Emanuel, O’Hare and Midway airports, McDonald’s and more.

Ruby Bradford’s rough, cartoon-like paintings of Superman and Prince Charles channel her interest in strong leading men. Adam Hines’ dense sketches mine deep memories of places visited, movies and TV shows ingested and beyond. Jamin Jaddua’s extravagant hats and clothing adored with fur, feathers, jewels and other eye-catching ephemera are fashions of the future. And Meg McCarville’s plastic dolls recall innocently twisted Tim Burton creations.

Twenty-five-year-old David Holt’s pencil drawings and paintings recall both folk and pop art — colorful, bright portraits of the dead and the living, including Jimi Hendrix, Michael Jackson, Jimmy Dean, Ron Santo, Mama Cass, his grandmother, Justin Beiber, Miley Cyrus and Beyonce.

Standing full front with blank staring eyes and outlined in hard, thick detail, the figures are both reassuring and haunting — celebrations of life and death. Obituaries clipped from newspapers affixed to the back of Holt’s pieces add a touch of melancholy, but also a cold, hard journalistic truth.

Asked when he first started drawing, Holt gets oddly metaphysical.

“It started when I came into the atmosphere…” He then trails off indecipherably. Like his work, he leaves more questions than answers.

But when asked his feelings about his art being in collections throughout Chicago, the United States or abroad, Holt’s response has the energy of his work.

“Awesome! I love it!”

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By Fred T. Meyer from UIC & Evanston
Posted: 01/21/2011 10:24 AM

The Project Onward gallery and studio was an artistically exciting -- and personally heartwarming -- place for me on my recent first visit (there will be more!). There are things to buy (at many price levels) and take away. I bought two cards that I'm thrilled with -- one by Larry Chestnut and one by George Zuniga. George was in the studio working when I visited. The "administrative team" brought him over so that "viewer could meet artist." I really appreciated that opportunity! -- Fred

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By Tara from NY
Posted: 01/12/2011 4:56 PM

Amazing effort...how is this funded?

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By Stephen Reginald from South Loop
Posted: 01/05/2011 10:03 AM

Phil, another great piece. Thank you for bringing this program to light.