Q: What is the most important factor behind your success?

At work
At work

A: In a word, I’d say it’s love. I love soft pastel! I love being an artist! I love looking at the thousands of pastels in my studio while I think about the possibilities for mixing new colors and making exciting new pastel paintings. Soft pastels are rich and intense.

Even after more than thirty years as an artist, I still adore what I am able to accomplish. I continually refine my craft as I push pastel to new heights. My business card says it all: “Revolutionizing Pastel as Fine Art!”

The surfaces of my finished pastel paintings are velvety and demanding of close study and attention. Soft pastel on sandpaper – no other medium is as sensuous or as satisfying. Who could argue with that!

Comments are welcome!

Pearls from artists* # 450

On the road in Bolivia

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

All the journeys that have transpired in my life have been animated by interest. Something or someone has stopped me in my tracks. Interest, that thing that cannot really be faked, is an invitation to adventure. It has always been disorienting to do but I have to act on these interests. Somehow I know that in order to keep on working as an artist, I have to keep on changing. And this means that when interest is piqued, I must follow or die. And I know that I will have to hang on tight for the ride. These rides have changed me irrevocably.

The primary tool in a creative process is interest. To be true to one’s interest, to pursue it successfully, one’s body is the best barometer. The heart races. The pulse soars. Interest can be your guide. It always points you in the right direction. It defines the quality, energy and content of your work. You cannot feign or fake interest or choose to be interested in something because it is prescribed. It is never prescribed. It is discovered. When you sense this quickening you must act immediately. You must follow that interest and hold tight.

… If the interest is genuine and large enough and if it is pursued with tenacity and generosity, the boomerang effect is resounding. Interest returns volley to affect your life and inevitably alter it. You must be available and attentive to the doors that open unexpectedly. You cannot wait. The doors close fast. It will change your life. It will give you adventures you never expected. You must be true to it and it will be true to you.

Anne Bogart in A Director Prepares: Seven Essays on Art and Theatre

Comments are welcome!

Travel photo of the month*

Road to Machu Picchu, Peru

*Favorite travel photos that have not yet appeared in this blog

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Pearls from artists* # 449

Working
Working

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

I learned about the Japanese word irimi while studying Aikido, a Japanese martial art. Simply translated, irimi means ,’to enter’ but it can also be translated ‘choose death.’ When attacked you always have two options: to enter, irimi, or to go around, ura. Both when accomplished in the right manner, are creative. To enter or to ‘choose death’ means to enter fully with the acceptance, if necessary, of death. The only way to win is to risk everything and be fully willing to die. If this is an extreme notion to Occidental sensibilities, it does make sense in creative practice. To achieve the violence of decisiveness, one has to ‘choose death’ in the moment by acting fully and intuitively without pausing for reflection about whether it is the right decision or if it is going to provide the winning solution.

It is also valuable to know when to use ura, or going around. There is a time for ura, going around, and there is a time for irimi, entering. And these times can never be known in advance. You must sense the situation and act immediately. In the heat of creation, there is no time for reflection; there is only connection to what is happening. The analysis, the reflection and the criticism belong before and after, never during, the creative act.

Anne Bogart in “A Director Prepares: Seven Essays on Art and Theater”

Comments are welcome!

Q: What’s on the easel today?

Work in progress
Work in progress

A: I recently started another 26” x 20” pastel painting.

Comments are welcome!

Pearls from artists* # 448

Museum of Ethnography and Folklore, La Paz, Bolivia
Museum of Ethnography and Folklore, La Paz, Bolivia

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Memory plays a huge role in the artistic process. Every time you stage a play, you are embodying a memory. Human beings are stimulated to tell stories from the experience of remembering an incident or a person. The act of expressing what is remembered is actually, according to the philosopher Richard Rorty, an act of re-description. In redescribing something, new myths are created. Rorty suggests that there is no objective reality, no Platonic ideal. We create truths by describing, or re-describing, our beliefs and observations. Our task, and the task of every artist and scientist, is to redescribe our inherited assumptions and invented fictions in order to create new paradigms for the future.

Anne Bogart in A Director Prepares: Seven Essays on Art and Theater

Comments are welcome!

Pearls from artists* #447

Barbara’s studio
Barbara’s studio

Cameron Crowe: I think this collection is a powerful gift, especially to young artists. It’s a portrait of you at a certain time in your life when you were having success. You could have plateaued at this stage for an entire career. Many did. But I listen to this and think the hidden message is don’t stop growing. Don’t stop heading to those deeper waters… challenge yourself… look where it may take you.

Joni Mitchell: That’s what the Van Gogh exhibition was to me. When I went to see the Van Gogh exhibition they had all his paintings arranged chronologically, and you’d watch the growth as you walk along. That was so inspiring to me, and I started to paint again. If it serves that purpose, that would be great. Really, that would make me very happy. It shows that from this… because the latter work is much richer and deeper and smarter, and the arrangements are interesting, too. Musically I grow, and I grow as a lyricist, so there’s a lot of growth taking place. The early stuff – I shouldn’t be such a snob against it. A lot of these songs, I just lost them. They fell away. They only exist in these recordings. For so long I rebelled against the term: “I was never a folk singer.” I would get pissed off if they put that label on me. I didn’t think it was a good description of what I was. And then I listened, and… it was beautiful. It made me forgive my beginnings. And I had this realization…

CC: What was it?

Joni: Oh God! (Laughs) I was a folksinger!

In A Conversation with Joni Mitchell by Cameron Crowe from Joni Mitchell Archives Volume I: The Early Years (1963-1967) 5 CD set

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Q: How has photography changed your approach to painting?

Alexandria, VA (composed on an iPad Pro)

A: Except for many hours spent in life-drawing classes and still life setups that I devised when I was learning my craft in the 1980s, I have always worked from photographs. My late husband, Bryan, would shoot 4” x 5” negatives of my elaborate “Domestic Threats” setups using his Toyo-Omega view camera. I rarely picked up a camera except when we were traveling. After Bryan was killed on 9/11, I inherited his extensive (film) camera collection – old Nikons, Leicas, Graphlex cameras, etc. – and needed to learn how to use them. Starting in 2002 I enrolled in a series of photography courses (about 10 over 4 years) at the International Center of Photography in New York. I learned how to use all of Bryan’s cameras and how to make my own big color prints in the darkroom.

Early on I discovered that the sense of composition, color, and form I had developed over many years as a painter translated well into photography. The camera was, and is, just another medium with which to express ideas. Pastel painting will always be my first love. However, pastel paintings take months of work, while photography offers instant gratification, especially with my current preferred camera, an iPad Pro.

Comments are welcome!

Pearls from artists* # 446

At the studio. Photo: Kimberly Kevorkian

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

What stops us in our tracks? I am rarely stopped by something or someone I can instantly know. In fact, I have always been attracted to the challenge of getting to know what I cannot instantly categorize or dismiss, whether an actor’s presence, a painting, a piece of music, or a personal relationship. It is the journey towards the object of attraction that interests me. We stand in relation to one another. We long for the relationship that will change our vistas. Attraction is an invitation to an evanescent journey, to a new way of experiencing life or perceiving reality.

An authentic work of art embodies intense energy. It demands response. You can either avoid it, shut it out, or meet it and tussle. It contains attractive and complicated energy fields and a logic all its own. It does not create desire or movement in the receiver, rather it engenders what James Joyce labelled ‘aesthetic interest.’ You are stopped in your tracks. You cannot easily walk by it and go on with your life. You find yourself in relation to something that you cannot readily dismiss.

Anne Bogart in A Director Prepares: Seven Essays on Art and Theater

Comments are welcome!

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