Posted on March 5, 2016, in 2016, An Artist's Life, Creative Process, New York, NY, Photography, Studio, Working methods and tagged absorbed, art-making, barrier, before, Besides, collection, compact, couldn't, exactly, explore, ffuture, generally, heading, integral, listen, lyrics, materials, pastel, player, prevent, process, ritual, something, stereo, Studio, surgical, thinking, turning, WBGO, WFUV, without, WNYC, working. Bookmark the permalink. 4 Comments.
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- Pearls from artists* # 693
- Q: You started the Bolivianos series in 2017. It has been 8 years since you created The Champ. This endeavor of focussing on a series for almost a decade’s timeline shows that you embody stability as against many artists who tend to hop on to the next inspiration they find. How has discipline, stability, focus and punctuality defined your works apart from being inspired by Bolivian culture for the series Bolivianos? (Question from Vedica Art Studios and Gallery)
- Pearls from artists* # 692
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- Q: You started the Bolivianos series in 2017. It has been 8 years since you created The Champ. This endeavor of focussing on a series for almost a decade’s timeline shows that you embody stability as against many artists who tend to hop on to the next inspiration they find. How has discipline, stability, focus and punctuality defined your works apart from being inspired by Bolivian culture for the series Bolivianos? (Question from Vedica Art Studios and Gallery)
- Pearls from artists* # 692
- Q: Another exhibition was described as “a journey from identity to authenticity.” Does that resonate? (Question from “Pastel, Passion, and Perseverance: An Interview with Barbara Rachko” in .ART Odyssey: Healing)
- Pearls from artists* # 691
- Start/Finish of “Showman,” soft pastel on sandpaper, 26” x 20”
- Pearls from artists* # 690
- Q: You take 3-4 months to complete one artwork. How do you plan a series such as Bolivianos over a year’s timeline and over the years? (Question from Vedica Art Studios and Gallery)
- Pearls from artists* # 689
- Q: Over your 40-year career as an artist, you have managed to keep presentation, technical, subject matter, conceptual consistencies in your art practice and work. How do you manage to filter out inspirations that might be luring at that moment but do not support your art practice? For example, you master pastel works. There must have been moments when you might have been inspired to make oil works. How do you keep such inspirations aside. (Question from Vedica Art Studios and Gallery)
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I could’t work without color.
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Certainly but color is included under ‘art materials.’
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Do love my music in the studio. Cream and masks? I guess I should be dead by now. I constantly forget to ventilate (turn it on). I spray indoors in winter (though I do leave the studio until the smell dissipates). I often clean brushes in the palm of my hand and my wife knows exactly which colours I’ve used that day simply by looking at my fingers and arms. I never wear a mask or protective anything.
Actually, I’ve been painting and drawing for nearly 50 years and am still at it 10 hours a day. I am more worried about genetically modified and chemically laden “preservatived” grains, fruits, vegetables and meats we “willingly” eat everyday even though they destroy our immune systems and make us contentedly obese. In the end, I feel more secure (hate the overused word “safe”) in my studio than in the “outside world” because the studio is a more encouraging than discouraging environment; a more creative than a destructive space. .
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Thanks for commenting! Pastel is particularly toxic because of all the dust that results so I protect myself from breathing it and from particles entering my skin via any cuts on my hands. I’m not familiar with safety measures that painters are advised to take, but dangerous lead and cadmium can be found in all pigments.
I’m with you about the sanctity of an artist’s studio. Certainly mine is my favorite place, and I don’t mean just in New York.
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