TAC Member Highlight: Greg Stone, From Books to Brushes

The path to becoming a recognized artist often evokes images of childhood prodigies, art school apprenticeships, and a lifelong dedication to the easel. Greg Stone’s path was a bit different. He spent decades in the world of books and academia before pastels captured his heart.

The Early Seeds of Creativity

“I was one of those kids who sometimes had to be made to go outside and play,” reminisces landscape painter Greg Stone. As a young child, Greg was a kid who loved building with Lego and drawing. Then, during his teen years, words took over. “I became more interested in writing as a form of expression and creativity,” he explains, detailing a shift that would define his academic and professional life for decades.  He earned a Ph.D. in English from the University of Tulsa, spending his thirties teaching and diving deep into doctoral studies.

A New Chapter Begins

Life has a funny way of opening new doors when old ones close. Around his fortieth birthday, Greg experienced two life-changing events – he finished his doctorate, and he lost his father to cancer. These transitions left a void. “After a few months of sitting around bored and somewhat depressed,” he recalls, “I decided I needed to do something creative.”

He found a forgotten box of pastels and some sanded paper in a closet. He started playing with them, and he hasn’t stopped since. What began as a casual way to pass the time became “the thing my mind most often wanders to during the day.” Encouraged by early feedback on social media, he started taking workshops, finding mentors, and learning as much as he could, which meant more and more time painting.

The Art of Light and Connection

Greg primarily paints landscapes. His process starts with studying his own reference photos. “I look for qualities of light and form that pique my interest, and once I find something, I spend time cropping the photo as needed to get the composition that I want,” he explains. He then sketches a thumbnail, transfers the composition, and begins building layers with an underpainting in either pastel or oil. He keeps layering until the painting really tells its story.

Being part of professional art organizations has been a huge boost for Greg. He’s earned the prestigious Master Circle distinction with the International Association of Pastel Societies and holds Signature Membership with the Pastel Society of America, among others. Locally, he’s active in the Oklahoma Pastel Society and the Mid-America Pastel Society, as well as the Tulsa Artists Guild and TAC.

“All of these organizations provide opportunities…to network with and learn from other artists,” Greg shares. “Many of those connections wouldn’t have happened in any other way, so I’m grateful for these opportunities. And even more importantly, I’ve met several artists who have become mentors and others who I’m happy to call friends.”

Galleries and Growth

When the Warm Springs Gallery in Virginia first reached out to him, it was a definite “ego boost.” But Greg quickly realized that gallery representation is about more than just feeling good about your work. “I quickly realized the true value is not in feeling accomplished or proud of yourself—it’s not an end goal,” he notes. Instead, it’s primarily “an opportunity to grow a business,” reaching new audiences and leveraging the gallery’s expertise. He now has work in galleries in Virginia, New Mexico, and Oklahoma, showing his art to a truly broad audience.

Why Pastels?

Greg admits he’s a bit impatient, which is one reason he loves pastels. While he enjoys oils, the setup and cleanup take time. With pastels, he can just pick them up and get right to it. But it’s more than just convenience.

“Pastel has a vibrancy that I don’t find in other media,” he explains. Pastels are pure pigment with very little binder, making them incredibly rich and saturated. This helps him achieve a deep color and luminosity with ease. Like many landscape artists, he believes “we really are painting the light,” and pastels help him capture that light more readily. Plus, they’re super portable, perfect for painting outdoors.

Sincerity in Nature

A quote from Henry David Thoreau deeply resonates with Greg’s artistic philosophy: “I love nature, I love the landscape, because it is so sincere. It never cheats me. It never jests. It is cheerfully, musically earnest.”

Greg considers himself an impressionist, though his work leans towards realism. He’s not trying to perfectly replicate a scene, but rather to convey the “feeling of the place and respect for that place.” This reverence for nature comes from his academic background, as he specialized in nineteenth-century literary history and culture, finding philosophical connections with nature.

An Inner Drive and Meditative Practice

What keeps Greg motivated? An inner drive. “I guess I’m always in a bit of a competition with myself to see how far I can take something,” he says, driven by a desire to constantly improve. Painting has also become a meditative practice for him. “With time, I’ve been able to tune out the rest of the world, work, challenges, politics, whatever—and just focus on the one thing on my easel for an hour or two at a time.”

He’s not interested in grand, familiar vistas. Instead, he loves “finding those small, out-of-the-way and ordinary spaces that we all pass by without recognizing how beautiful those spaces can be.” This eye for everyday beauty connects him to his roots in northeast Oklahoma, where he was born and raised.

Just Start Doing

To aspiring artists, Greg offers advice similar to what he told his college writing students: “You can read books, go to museums, watch demos or YouTube videos, but the only way to learn to do something is to do it.” He emphasizes consistent practice without the pressure of instant perfection. “Do it often. Do it as much as you can. Don’t be as concerned about it turning out well. The win comes by doing it.”

His teaching background also influences his approach to composition and design. Just like a blank page can be intimidating for a writer, a blank canvas can be daunting for an artist. His solution? Just start. “You can’t fix what’s not there, so you just have to jump in and make a mark or a brushstroke or whatever and build on that.”

What's Next?

Greg’s artistic journey continues to unfold with exciting opportunities. He’s thrilled to be invited to participate in the National Cowboy and Western Heritage Museum’s annual Small Works, Great Wonders show this November, which means a summer dedicated to painting western landscapes. And looking ahead, in June 2026, he’ll be giving a demonstration at the biannual International Association of Pastel Societies conference.

Follow Greg Stone:

Website: www.gregstonefineart.com

Facebook: @gregstonefineart

Instagram: @gregstone76