Monthly Archives: December 2016
Q: What personality traits do you possess that have been most helpful in your art career?
A few of Barbara’s pastels
A: I suppose it’s curiosity about all sorts of things, but particularly about the creative process. I am forever curious about how my personal creative process might evolve and develop and where it might possibly lead. Making art is an ongoing source of discovery. The longer I am an artist, the richer the whole experience becomes.
Also, I possess an unwavering love of craft. Even after thirty years, I still enjoy experimenting with new pastels, pushing myself to use them in new ways, and endeavoring to create the best work I can.
Comments are welcome!
Pearls from artists* # 228
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.
… we’re plagued by the certainty that we haven’t quite achieved what we’d hoped we could. The work is only as good as our small, imperfect, pedestrian selves can make it. It exists in some idealized form, just out of reach. And so we push on. Driven by a desire to get it right, and the suspicion that there is no getting it right, we do our work in the hopes of coming close. There’s no room in this process for an overblown ego. A career – whether it takes us to Cap d’Antibes or to the Staybridge Suites off the interstate – can be the result, but if it’s the goal, we’ve lost before we’ve even begun.
Dani Shapiro in Still Writing: The Perils and Pleasures of a Creative Life
Comments are welcome!
Q: What is your current priority career goal and what steps are you taking to attain it?
“White Star,” soft pastel on sandpaper, 38″ x 58″
A: My priority is to find a New York gallery to represent my work. Recently I began working with an advisor who has thirty years of experience in the local art scene. He is working to help facilitate an introduction to the right gallerist.
This is no easy task at present. More and more galleries are closing while record numbers of artists clamor for attention.
Comments are welcome!
Pearls from artists* # 227
Madurai, India
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
As George Grosz said, at that last meeting he attended at the National Institute, “How did I come to be a great artist? Endless curiosity, observation, research – and a great amount of joy in the thing.” It is a matter of taking a liking to things. Things that were in accordance with your taste. I think that was it. And we didn’t care how unhomogenous they might seem. Didn’t Aristotle say that it is the mark of a poet to see resemblances between apparently incongruous things? There was any amount of attraction about it.
Ezra Pound in Writers at Work: The Paris Review Interviews Second Series, edited by George Plimpton
Comments are welcome!
Start/Finish of “Charade”
Charcoal underdrawing
“Charade,” soft pastel on sandpaper, 38″ x 58″
Comments are welcome!
Pearls from artists* # 226
Barbara at work, Photo: Marianne Barcellona
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Technique is the test of sincerity. If a thing isn’t worth getting the technique to say, it is of inferior value. All that must be regarded as exercise. Richter in his Treatise on Harmony, you see, says, “These are the principles of harmony and counterpoint; they have nothing whatever to do with composition, which is quite a separate activity.”
Ezra Pound in Writers at Work: The Paris Review Interviews Second Series, edited by George Plimpton
Comments are welcome!
Q: What’s on the easel today?
Preliminary drawing
A: I am ready to start a preliminary charcoal drawing as a study for my next pastel painting. It has been a while since I worked with the Mexican figures in the photo on the left. It’s like a reunion with dear friends!
Comments are welcome!
Pearls from artists* # 225
Morning sun at the 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.
It’s so easy to forget what matters. When I begin the day centered, with equanimity, I find that I am quite unshakeable. But if I start off in that slippery, discomfiting way, I am easily thrown off course – and once off course, there I stay. And so I know that my job is to cultivate a mind that catches itself. A mind that watches its own desire to scamper off into the bramble, but instead, guides its own desire gently back to what needs to be done.
Dani Shapiro in Still Writing: The Perils and Pleasures of a Creative Life
Comments are welcome!
Q: Do you consider your finished pastel works to be drawings or paintings?
“The Sovereign,” soft pastel on sandpaper, 58″ x 38″ image, 70″ x 50″ framed
A: Among artists who work in pastel, these two words, ‘drawings’ and ‘paintings,’ have very specific meanings, somewhat unrelated to the usual distinctions made by art historians and others. For a pastel artist, a ‘drawing’ refers to a work in which the paper or other substrate is allowed to show through. In a pastel ‘painting’ you do not see the substrate at all, i.e. pastel is used much more heavily in a painting than in a drawing. Since I have always spent months creating each piece, covering the entire sandpaper ground with up to 30 layers of pigment, I have considered my work to be pastel painting.
Comments are welcome!
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