FACE OF THE STREETS — Nationally-renowned artist Neil Shigley helps viewers see through the eyes of homeless people and gives voice to their stories. His striking art of urban nomads in their subculture environment has been exhibited all over the world. His gallery at Southwestern College, the Invisible People Series, features Michael 59, G and Market St., Cowboy Jimmy 70, Kevin 51 and Dave 57. Photo by Serina Duarte/ Staff

It is hard to look into the eyes of the homeless, but Neil Shigley does not flinch.

America’s forgotten people have a talented ally in Shigley, who looks straight into their broken, tired souls and eyes.

Shigley’s “Invisible People Series,” an exhibit in the Southwestern College Art Gallery, gives voice to urban nomads so they can describe their shadowy subculture. His sympathetic and searing photos challenge viewers to understand where the faces come from and feel their weariness and anger.

Shigley, a graduate of Pasadena’s Art Center College of Design, puts faces on the phantoms drifting the breezy streets of San Diego.

Most of Shigley’s portraits exude a powerful dose of pathos. One of his strongest is “Kevin 51,” a frowning street product with piercing eyes.

SWC Gallery Director, Vallo Riberto compared Shigley’s work to World War II German painter, printmaker and sculptor Käthe Kollwitz.

“They were the most heart-wrenching, beautiful, sensitive prints that you can imagine,” said Riberto. “And Shigley has really put his finger on a really emotional issue today of these homeless people.”

Shigley told a gallery audience about the importance of being able to relate to people and doing something for somebody else. He encouraged his audience to listen and sympathize with the human being asking for attention.

“As an artist, it’s the art process for me,” he said. “Trying to describe these characters that I’m consumed with.”

A symbol is added to the portrait of each subject painted clear white at the bottom right or left corners. Homeless people first used the symbols during the Great Depression as warnings to fellow drifters by placing them outside buildings and houses to communicate with each other about the safety level of each location.

“Sometimes it was a warning that may be a matter of life and death,” said Shigley.

Facial expressions are the heart of the exhibition. Each portrait is a collage of sun-baked wrinkles worry lines and eyes clinging to hope or set back by despair.

Shigley said his process of creation begins by walking around downtown San Diego and talking to homeless people. He explains that he will say three words – love, peace and injustice – and take a photograph of their reaction to each word.

With his Canon Rebel XT camera, Shigley captures the essence of the tired faces. He makes a detailed drawing of the photograph, which is then placed under a large piece of Plexiglass. He carves the drawing onto the Plexiglass with a flexible shaft Dremel tool. Each piece is rolled with ink and a large sheet of paper is laid over. Rubbing it by hand, he pulls the image off and adhered to wood.

Riberto said some homeless people reject Shigley’s request, but most agree.

“Michael 67” is a projection of a charismatic subject with kind eyes. To represent this humble character, Shigley used a symbol for a spiritual place. Located on the left bottom corner, a symbol with three horizontal lines. Shigley said he thought it was appropriate because “Michael” told him that he needed to be on the streets to minister others.

Shigley is nearly as well known as his subjects are anonymous. His photo “Michael 67” was selected as a finalist in the National Portrait Competition exhibit that will hang in the Smithsonian National Portrait Gallery in Washington, D. C. for most of 2013.

Riberto said “Michael 67” is one of his favorite pieces because of the contrast in his expression from all the other portraits.

“I can’t really pick a favorite,” said Riberto. “But this guy, I mean, he’s smiling. He looks like he has a story behind him.”

They all do.