Portrait Painting Project in Cambridge, Ontario – The Many Faces

What happens when a small city decides to celebrate its people — not through monuments or plaques, but through hand-painted portraits? The portrait painting project Cambridge Ontario known as "The Many Faces" answers that question in a powerful way. Led by artist Robert Fox, this community-driven initiative captures the spirit of Cambridge's residents one canvas at a time. Much like the traditions explored in art history, this project connects portraiture's centuries-old legacy with modern grassroots creativity. It stands as proof that art does not need gallery walls to make a lasting impact.

The Many Faces project brings portraiture out of the studio and into the streets of Cambridge, Ontario. Volunteers, local figures, and everyday people sit for painted portraits that are then displayed publicly. The result is a growing visual record of the community — a living gallery that anyone can visit and enjoy.

Robert Fox, the driving force behind the project, works alongside collaborators including his son David Charles Fox. Together, they have built something that echoes the tradition of street art while staying rooted in classical painting techniques. The project has earned local grants, attracted volunteers, and drawn attention from art lovers across the region.

The Origins of The Many Faces Project

Robert Fox's Vision

Robert Fox launched the portrait painting project in Cambridge, Ontario with a simple idea: paint the people who make up the city. Not politicians or celebrities — ordinary residents. Shop owners, teachers, retirees, children. The concept draws from a long line of portrait painting traditions stretching back to ancient Egypt, but applies them at a neighborhood level.

David Charles Fox, Robert's son, grew up surrounded by art — reportedly picking up a brush before age three. That early exposure helped shape a family-driven creative practice. The Fox family treats portrait painting not as a profession alone, but as a way to connect with neighbors and preserve local identity.

Community Support and Funding

Projects like The Many Faces do not fund themselves. Key support came from The Awesome Foundation of Kitchener-Waterloo, which awarded a micro-grant to help cover supplies and event costs.

Additional backing came from volunteers who donated time, space, and materials. This grassroots funding model kept the project independent and community-owned. It is a reminder that meaningful art does not always require major institutional budgets — sometimes a small grant and willing hands are enough.

Caring for Community Portrait Paintings

Display Conditions and Environment

Once portraits are completed, keeping them in good shape matters. Paintings displayed outdoors or in public spaces face risks that gallery pieces do not. Here are the main concerns:

• Direct sunlight fades pigments over time, especially warm reds and yellows
• Humidity causes canvas to expand and contract, leading to cracks
• Dust and airborne pollutants settle on varnish layers and dull the surface
• Physical contact from passersby can damage unprotected work

For community projects, UV-protective glass or acrylic coverings offer affordable protection. Rotating pieces between indoor and outdoor display extends their lifespan significantly.

Long-Term Storage Tips

Portraits not currently on display need proper storage. Flat storage is ideal for unframed canvases, while framed pieces should stand upright with padding between them. Climate-controlled rooms — even a basement with a dehumidifier — beat garages and attics. A light coat of archival varnish before storage adds an extra layer of defense against moisture and dust.

When storing oil portraits long-term, avoid plastic wrap directly on the paint surface — it traps moisture and can cause mold or paint transfer. Use acid-free tissue paper instead.

Portrait Painting Project Cambridge Ontario: Notable Works

The John Kingswood Portrait

One of the most striking pieces from the project is Robert Fox's portrait of John Kingswood. The painting demonstrates the kind of careful observation that defines strong portraiture — capturing not just physical features, but personality.

The approach recalls how masters like Arcimboldo found ways to make portraits speak beyond mere likeness. While Arcimboldo used fruit and flowers, Fox uses honest brushwork and close attention to his subjects' expressions.

The Caravaggio Tribute

Robert Fox and collaborator Bryan Rogers also painted a tribute to Caravaggio as part of the project. This piece bridges classical European painting and the local Cambridge art scene — showing that a community portrait project can honor Renaissance art traditions while staying grounded in its own neighborhood.

Below is a quick look at some of the key portrait subjects and styles featured in the project:

How to Launch a Community Portrait Initiative

Finding Willing Subjects

One challenge in any portrait painting project is finding people willing to sit. Not everyone is comfortable being painted. Some practical approaches that worked in Cambridge, Ontario include:

• Setting up at local events where people are already relaxed and social
• Offering quick sketch sessions (15–20 minutes) rather than long sittings
• Displaying finished portraits publicly so potential subjects can see the results
• Partnering with community centers, libraries, and local businesses

The key is making it feel casual. When people see their neighbors on canvas and smiling about it, they warm up fast.

Organizing Public Painting Events

Public painting sessions double as community events. They draw crowds, create conversation, and give the project visibility. A few things to plan for:

• Weather backup — tents or indoor fallback spaces are essential
• Seating for subjects and spectators
• Good natural lighting (north-facing setups avoid harsh shadows)
• Signage explaining the project and inviting participation

The Many Faces project often set up in public areas around Cambridge, turning sidewalks into open-air studios. These events generated media coverage and word-of-mouth interest that kept the project growing.

Materials and Setup for Portrait Painting

Paint Types and Surfaces

Portrait painters working in community settings need materials that are portable, durable, and forgiving. Oil paint remains the traditional choice for its blendability and rich color depth. However, acrylics dry faster and clean up with water — a real advantage when painting outdoors at public events.

Canvas boards work well for quick sessions because they are lightweight and rigid. Stretched canvas is better for larger, more detailed portraits meant for permanent display. Pre-primed surfaces save setup time in the field.

Workspace and Easel Setup

A solid easel makes all the difference. For outdoor events, a French box easel combines an easel, palette, and storage in one portable unit. Plein air setups with tripod easels also work, though they can be less stable in wind.

Other essentials for outdoor portrait sessions include:

• A portable palette (glass or disposable paper pads)
• Brush roll or case to protect bristles during transport
• Odorless mineral spirits for oil painters (safer in public spaces)
• Paper towels and a trash bag for cleanup
• A reference mirror — helps the painter check proportions by viewing the work in reverse

Frequently Asked Questions

Final Thoughts

The Many Faces portrait painting project in Cambridge, Ontario shows what happens when art meets community in the most direct way possible — one face at a time. Whether the interest lies in painting, volunteering, or simply appreciating local culture, this project offers a model worth studying and replicating. Consider visiting one of the public displays, reaching out to the artists behind the project, or even starting a similar initiative in another town — because every community has faces worth painting.