Pearls from artists* # 724
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on
Hokusai
From the age of six, I had a passion for drawing the form of objects. By the age of about fifty, I had published an infinity of drawings, but nothing I produced before the age of seventy is worth counting. It was at the age of seventy-three that I more or less understood the structure of true nature, of animals, grasses, birds, fish, and insects.
Consequently, by the age of eighty, I will have made even more progress; at ninety I will penetrate the mystery of things; at a hundred I will definitely have reached a degree of wonder, and when I am a hundred and ten, for my part, be it a dot, be it a line, everything will be alive.
I ask those who will live as long as I do to see if I keep my word.
Written at the age of seventy-five by myself, formerly Hokusai, today Gwakio Rogin, the old man crazy about drawing.
Stuart Horodner in The Art Life: On Creativity and Career
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Travel photo of the month*
El Alto, Bolivia
*favorite travel photos that have not yet appeared in this blog
At 13,500’ altitude in the Andes you can see forever!
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Pearls from artists* # 723
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on
Francis Bacon Interview with David Sylvester
DS: You really are not working with any thought of an audience?
FB: I’m working for myself; what else have I got to work for? How can I work for an audience? What do you imagine that an audience would want? I have got nobody to excite except myself, so I am always surprised if anybody else likes my work sometimes. I suppose I’m very lucky, of course, to be able to earn my living by something that really absorbs me to try and do, if that’s what you call luck.
Stuart Horodner in The Art Life: On Creativity and Career
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Q: What’s on the easel today?
Work in progress
A: I continue working on “Strongman,” soft pastel on sandpaper, 58” x 38.” This is the second “Bolivianos” painting I am creating based on photos from my February trip to Bolivia to research Carnival.
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Pearls from artists* # 722
Barbara attending Carnival in Oruro, 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
One of the most insidious kinds of pressure to which an artist can succumb is the pressure to be accessible. Well-meaning advisors may tell you that x is acceptable, marketable, popular and wealthy. But if you alter your work to be more x-ish, people will spot it as inauthentic; it will not be heartfelt because it does not originate in your own being. By all means develop and revise your work to communicate more and more clearly; but if you alter one word in order to please some imagined market “out there,” the integrity and originality of everything you do is at risk. You get off the sure base of what you really know and are. Whereas if you create your own material in your own way, developing art work that is more and more authentically yours, people will spot it as genuine. In resisting the temptation to accessibility, you are creating a genuine space and living in it.
Stephen Nachmanovitch in Free Play: Improvisation in Life and Art
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Q: What stands out from your experiences in India? (Question from “Pastel, Passion, and Perseverance: An Interview with Barbara Rachko” in .ART Odyssey: Healing)
Ahmedabad – Danapith, India
A: The chaos of the cities. The constant honking, the traffic, the sheer density. I used to think New York was crazy until I went to Delhi and Mumbai—then I came home and New York felt peaceful. But visually, India is extraordinary: the clothing, the buildings, the surprises. Once I was in a bus at a traffic light and saw the back end of an elephant sticking out of a pickup truck.
You never forget things like that. They’re unique to a place.
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Pearls from artists* # 721
Barbara’s Studio
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on
Creativity is one of the survival mechanisms of our collective souls. I refuse to believe that our story will end with capitalism and cynicism snuffing out the magnanimous artistic impulse that has been with us since the beginning of recorded history. Never forget that we have the power to shape the art world we want. Whatever we click on, talk about, and share is what will grow in importance. Ignore empty, formulaic work and art market hype. Share the work of artists we admire. Discuss the value of art only in terms of its intrinsic qualities. Decide that we will only give our attention to what we wish to see more of.
Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice
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Q: Do you have a favorite art book, one you return to again and again? (Question from “Pastel, Passion, and Perseverance: An Interview with Barbara Rachko” in .ART Odyssey: Healing)
A: When she’s not in the studio, Barbara often begins her mornings with reading. Right now, she can’t get enough of Art From Your Core: A Holistic Guide to Visual Voice. “This is a fabulous book for visual artists. It’s become my current art bible. It reminds me why I decided to make art in the first place and what I need to do to continue to improve. It helps me reconnect with forgotten parts of myself and is a much-needed reminder of what l love most about being an artist.”
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Pearls from artists* # 720
“Gatecrasher” (in progress), soft pastel on sandpaper, 58” x 38”
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on
An artist without a vision is like an individual programmed just to live, breathe fresh air, eat, and then move on. It is that important vision that we see with our mind’s eye and believe in that society cannot live without. The artist with foresight is the one who is responsible for making it possible. Vision encourages us to pursue art and it gives us reasons to live a purposeful life. But without a conscious effort to maintain and focus our vision, some unimportant thing can sway us from our path and persuade the artist to become something else. And without technical skills to clarify what we think is purposeful and meaningful, the artist can be misunderstood.
Samuel Adoquei in Origin of Inspiration: Seven Short Essays for Creative People
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Q: Last year you were in Paris and saw the David Hockney retrospective. What struck you the most? (Question from “Pastel, Passion, and Perseverance: An Interview with Barbara Rachko” in .ART Odyssey: Healing)
Giverny by DH, 2023, in David Hockney 25, Fondation Louis Vuitton, Paris
A: It was spectacular! I spent three and a half hours there, which I never do—usually two is my limit. I had known his LA work, but I wasn’t aware of so much else, including the Normandy pieces. And yes, the iPad drawings impressed me. I like that he keeps evolving, trying new tools, staying current. At his age that’s remarkable. As someone who has focused on one medium my whole life, I admire artists who reinvent themselves again and again.
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