Before audiences take their seats or exhibitions open to the public, much of the coordination that supports Plano’s arts scene has already taken place. As president of Collaborative Arts of Plano, Gene Dillard works with local arts organizations, artists and community partners to help facilitate collaboration and communication across the city’s cultural landscape. His role centers on supporting shared initiatives, fostering connections and contributing to the organizational framework that underpins arts programming in Plano.
But Dillard’s work with the arts community doesn’t begin or end with CAP. He’s been a longstanding artist in the area for decades, owning Rail Station Studios and making headlines with his portraits.
Walk us through your professional history. Have you always been an artist by trade?
At an early age, I developed an interest in the creative arts. This included visual arts and writing. In high school, I discovered there was one career path that was a blend of the two: advertising. And, a path that came with predictable income. From that discovery, I never looked back. College resulted in a degree in a Bachelor of Applied Arts from the University of Texas and an advanced degree in fine art from the Art Center College of Design in Los Angeles.
My career in advertising started with a bang. I was hired by McCann-Erickson, the largest ad agency in the world, to work on the Exxon account, the largest company in the world. I then landed in Dallas to work for the largest ad agency in Dallas on a number of their national accounts. My decades-long career in advertising included working with over 20 Fortune 1000 brands and several ad agencies, including my own. Brands I served include Borden, Kraft Foods, Holiday Inn, Exxon, Conoco Phillips, Sara Lee, JP Morgan Chase, Frito Lay, Schlotsky’s, Tyson’s, Sky Chefs and many more.
All along the way, I kept a hand and interest in fine art. I gradually moved from the world of “commercial” art to focus on fine art. However, today I continue to work for several advertising and graphic design clients.
What drew you to portraiture?
Portraiture was a natural for me in two ways. Business-wise, it is unique in that commissioned portraits are guaranteed to be paid for. Something that landscape artists and others don’t experience. In that sense, there was the familiar “commercial” aspect to it … an assignment, a deadline, parameters and a budget. But beyond that, I find tremendous pleasure in the collaboration with my subjects. I paint primarily from life sittings where I get to know the personality and character of the sitter. Then there is the joy of converting their likeness and character to a canvas with all the colors in the universe. Great fun.
What brought you to Plano?
I’ve been a resident of Plano for over 40 years. My career in advertising was centered in Dallas, so Plano was a good choice for a great place to live. Our children benefited from the great school system, as did my wife, Louise. She taught in PISA for 20 of our years here. We have witnessed enormous changes in Plano over the years. At all stages, it has remained a dynamic and wonderful community.
What is your favorite piece you have painted as a commissioned work? Or are there any that come up as an interesting story?
Two of my favorite commissioned pieces relate to the experience of painting them … the past and current Mayors of Plano. I counted it a privilege to have been able to paint these important City of Plano leaders. They both graciously posed for me in my studio several years apart. The experiences were most enjoyable. As in all cases, my subjects chat with me when posing, often sharing passages from their life stories. The relaxed environment was very helpful in capturing their personality and character. Mayor LaRosiliere’s was a somewhat informal seated pose. He was very specific in how he wished to have his clasped hands depicted. Mayor Muns’ pose was a bit more formal standing pose. I was pleased with the results, as were the mayors.
When did you get involved with Collaborative Arts of Plano (formerly the Plano Arts Coalition)?
Originally, I began participating with CAP (then Plano Arts Coalition) early in its founding as a representative of Plano Art Association, one of the founding member organizations of PAC. I served as president of PAA for three years starting in 2018. CAP emerged as an important force for all the arts in Plano, and I viewed it as a concept worthy of participation.
What encouraged you to go for president? What does being president of CAP mean to you?
I was honored to be approached by the CAP Executive Board in 2024 and asked to consider standing for the presidency. Although anxious about the scale, scope and responsibility of such a position, I was impressed with the leadership team’s commitment to support the organization. I have found the role challenging. When you think about 25 arts organizations, all led by very strong personalities, it has been said that leading such a group is like herding cats, but in this case, lions, tigers and jaguars. To me, it is an honor to help advocate for the arts in Plano and assist the CAP members in enhancing their offerings to the community.
What do you see as the future for the arts community in Plano?
Plano has a vibrant arts community. There is much going on that goes unnoticed, unfortunately. Last year, the Cultural Arts Commission listed up to 1,000 arts events in the city by organizations that are funded in part by the City of Plano. The City of Plano is generous with its grant program for the arts. The future holds much promise for advancing the strength of the arts community. The Cultural Arts Plan, initiated by CAP and developed by the City, can make a huge impact as it is executed. The need for more spaces for performance and exhibitions is a major issue that hopefully will be part of future advances. The creators of the arts, performance and visual, have inherent momentum that will continue, but the city and its citizens will need to recognize the needs they have for support.
This interview has been edited for clarity and brevity.
