Monthly Archives: July 2019

Pearls from artists* # 363

Thar Desert, Rajasthan, India

Thar Desert, Rajasthan, 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.

Beauty seems to need quiet and take patience, both to create it and to experience it.

If our minds are filled with a long and urgent “to do” list, we are not likely to slow down enough to appreciate anything but the next line we can draw through our never-ending list.  Yet every now and again something stops us. It arrests our constant external activity and search.  We can be stopped by the way the light filters through the trees in our backyard or hits a bowl of fruit on our kitchen table.  And we are silenced, even if momentarily.  We can be stopped by cave paintings as easily as by a thirteenth-century tapestry or a fifteenth-century Italian painting.  We may be impressed by the craft of the artist, but almost always what moves us most deeply is the beauty that is expressed by the craft.

In the face of beauty, we are silenced because beauty expresses silence.  In lavishing attention on the object of the artwork, the consciousness of the artist can touch something divine, some transcendental quality, and that transcendent element now resides in the artwork.  How do we know it?  We feel it. We experience it.  Our heart responds to that sublime quality the artist infused into the work.

Ian Roberts in Creative Authenticity:  16 Principles to Clarify and Deepen Your Artistic Vision

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Start/Finish of “Poseur,” Soft Pastel on Sandpaper, 58” x 38”

Start

Start

Finished, signed lower left

Finished, signed lower left

Comments are welcome!

Pearls from artists* # 362

On the Indian Ocean in Tanah Lot, Bali

On the Indian Ocean in Tanah Lot, Bali

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

… if we look at the artifacts of all cultures, beauty always has attracted man’s attention.  We know when we are in its presence.  We’re held.  Different pieces of art will arrest different people, and… some pieces will arrest larger numbers of people for longer periods of time.  These are the works that are perhaps worthy of being called great art.  We have to recognize that some people today, observing the greatest works of art, or the most awesome works of nature – the Grand Canyon, for instance – give it a minute and then are ready for something else.  Insatiable for change, they are immune to deep resonance.

Art and beauty are about those resonances.  It isn’t the subject matter that holds us.  Some inexplicable reaction stops us, and we find ourselves connected with something other than ourself.  Perhaps our ‘Self’ might be a better term, to distinguish it from the self that is caught up in thoughts, worries, and distractions.  I like Ken Weber’s definition, that beauty “suspends the desire to be elsewhere.” In the face of great art, we experience transcendence.

Ian Roberts in Creative Authenticity:  16 Principles to Clarify and Deepen Your Artistic Vision

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Q: What’s on the easel today?

Work in progress

Work in progress

A:  I’m beginning a new 26” x 20” pastel painting, which will be number eleven in the “Bolivianos” series.

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Pearls from artists* # 361

"The Champ," soft pastel on sandpaper, 26" x 20"

“The Champ,” soft pastel on sandpaper, 26″ x 20″

* 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 seems to me in the end, as far as expressing yourself is concerned, you just have to plunge in, fears and all.  There is something courageous about it.  If a person is too timid even to start, I’m not sure what it would take to get that person started.I;m not a big believer in books and courses that advocate going into creativity rituals and altar-making and mask-making in order to get unstuck and get started.  Maybe that stuff works.  I don’t know.  It just seems like more strategies to avoid getting on with it.

Ian Roberts in Creative Authenticity:  16 Principles to Clarify and Deepen Your Artistic Vision

Comments are welcome!

My blog turns 7 years old on July 15! Here is the very first post from July 15, 2012. Q: What does it take to be an artist, especially one living and working in New York?

Barbara's Studio

Barbara’s Studio with works in progress.

A:  The three Big P’s – Patience, Persistence, and Passion.  Without all three you will not have the stamina to work tirelessly for very little external reward.  You can expect help from no one. 

There are so many obstacles to art-making and countless reasons to just give up.  When you really think about it, it’s amazing that great art gets made at all.  So why do we do it?  Above all it’s about making our time on earth matter, about devotion to our innate gifts and love of our hard-fought creative process. 

And, my God, it even gets harder as we get older!  So what do we do?  We dig in that much deeper.  It’s a most noble and sacred calling – you know when you have it – and that’s what separates those of us who are in it for the long haul from the wimps, fakers, and hangers-on.  I say to my fellow artists who continue to work despite the endless challenges, we are all true heroes! 

__________

Lucky me to still be in the same studio!  However, when you visit now, you see more tables full of pastels, more postcards on the walls, newer pastel paintings, etc.  What I wrote seven years ago still rings true.  

Most importantly, THANK YOU to my 42,000+ subscribers for taking this journey with me!

Comments are welcome!     

Pearls from artists* # 360

Barbara’s studio

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.

Human beings have been creative beings for a really long time – long enough and consistently enough that it appears to be a totally natural impulse.  To put the story in perspective, consider this fact:  the earliest evidence of recognizable human art is forty thousand years old.  The earliest evidence of human agriculture, by contrast is only ten thousand years old.  Which means that somewhere in our collective evolutionary story, we decided it was way more important to make attractive, superfluous items than it was to learn how to regularly feed ourselves.   

Elizabeth Gilbert in Big Magic:  Creative Living Beyond Fear

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Q: As you reflect on your overall art career beginning with your art education, what major event stands out as an important sign that you were headed in the right direction?

"His Mortal Enemy Was Poised Ready to Strike," soft pastel on sandpaper

“His Mortal Enemy Was Poised Ready to Strike,” soft pastel on sandpaper

A:  In 1989 I left a career in the Navy to pursue life as a full-time professional artist.  In July 1996 Bryan and I were traveling in Mexico.  Something told me to check the phone messages at our Virginia house so I did.  

There was a message from Mia Kim, the director of Brewster Arts Ltd. on West 57th Street in Manhattan, requesting a dozen large pastel paintings for a two-person exhibition in October, just three months away!

At the time I was still living in Alexandria, Virginia so exhibiting in Manhattan – let alone securing prestigious gallery representation – seemed a far-off dream.   Yes, I had sent Mia slides, but she had not seen my work in person.   She first saw my “Domestic Threats” pastel paintings when I delivered them to the gallery for exhibition.  The show was called “Monkey Business.”

Brewster Arts was an elegant New York gallery that specialized in Latin American Art.  There was just one other non-Latina artist that Mia represented, Leonora Carrington, whom I met that October at my opening.   I remember Mia introducing me and declaring to the entire crowd, “Barbara has the SOUL of a Latina.”  I’ve always loved that.  It was the first time I realized I was really on my way!

Brewster Arts Ltd. continued to represent my work until the gallery closed some years later.

Comments are welcome!

Pearls from artists* # 359

Matador mask, La Paz, Bolivia

Matador mask, 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.

The Matador, with a black mask made of plaster and stucco, jumps around and teases the pair of bulls.  He wears an embroidered cloth on his chest that is draped over his shoulder to cover part of his back.  In his hand he carries a saber that was cut out of a barrel or a tin oil can, the way I saw my father and my grandfather make.  It has little bells made of beer and other bottle caps, that are flattened into rattles.  The matador also wears a colorful diamond shaped montera (cap).

“An Aymara Vision of the Altiplano Masks,” texts and photos by Sixto Choque in Masks of the Bolivian Andes, Editorial  Quipos and Banco Mercantil

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