The issue of how to make a living becomes

The issue of how to make a living becomes more serious as the number of mouths to feed increases. Make no mistake about it, the Wilson’s have mouths to feed hungry, open, needy mouths.

The mouths belong to four dogs and one-cat. It became clear the dogs were eating well when each was able to stray from his dish long enough to significantly delay the interview for this article. When entering the Wilson’s home one should be prepared for an unrestrained display of affection, complete with laps, wags, gulps and kisses. All very flattering.

The cat of course was the exception. He or she judged the appearance of a reporter in the home to be of little interest and would not once so much as peek at the intruder.

So there is a family to feed and Pat intends to feed it, by doing that which he loves most - painting. He does not agonize, as many artists do, over the

difficult task of reconciling the practice of ail with a practical living. He ere-' ates paintings with the intention of selling them.

By marketing his paintings in a strict businesslike manner now, Pat hopes one day to have the freedom to keep some of his works. Now he sells everything, with the exception of an occasional painting given to Jane as a gift.

Pat’s office, rather his studio, is in his home and, like the rest of the world, he puts in eight hours a day, sometimes 12 to 14. Art does not provide him with a constant, inspirational high. He gets bored and has to work through ruts.

“It’s hardest to get the discipline,” he said, referring to his long days and the fact that he often paints for three to four hours straight without breaking. “I have to be selfish with my time.”

He insists that Jane is every bit as creative as he is. 'l^ie only difference is “she lacks the discipline.” Also, she teaches art in a Warren County high