Author Archives: barbararachkoscoloreddust
Q: What made you fall in love with soft pastel versus another medium?
“The Champ” in “Worlds Seen & Unseen” at Westbeth Gallery, NYC
A: I like to get my hands right into my work. In other words, I don’t like brushes or anything else to intervene between my hands and what I’m working on.
I work with 400 or 500 grit Uart sandpaper so the downside is that I rub my fingertips raw from blending layers of soft pastel onto sandpaper. I’ve tried using rubber gloves (they make my fingers sweat and wear out fast), cotton gloves (they leave bits of lint on the paper), using a blending stump (it leaves lint on the paper), etc., but nothing works as well as my own fingers. So sore fingertips are an unavoidable occupational hazard. I sometimes take days off from the studio just so that my hands can heal.
I adore color and love looking at the thousands of pastels in my studio! After working with this medium for more than thirty years, I still love what I am able to accomplish and I am still pushing it to do new things. The colors are rich, intense, velvety. No other medium is as sensuous or as satisfying.
Comments are welcome!
Pearls from artists* # 347
“Prophecy,” on view in “Worlds Seen & Unseen” at Westbeth Gallery, NYC
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Like the cyclotrons of physicists, the artistic work is a machine for uncovering hidden layers of reality. It gives us insight into the psychic forces that shape the world, enabling us to divine where we come from and where we are heading. It is in this sense that art can be said to be prophetic.
J.F. Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
Comments are welcome!
Q: Do you have any ”dont’s” for artists that you swear by?
On my studio wall
A: I don’t remember where I found this list, but most artists probably need to be reminded once in awhile. I certainly do!
Comments are welcome!
Pearls from artists* # 346
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.
In my view… the most useful definition of creativity is the following one: people are artistically creative when they love what they are doing, know what they are doing, and actively engage in the tasks we call art-making. The three elements of creativity are thus loving, knowing, and doing; or heart, mind, and hands; or, as Buddhist teaching has it, great faith, great question, and great courage.
Eric Maisel in A Life in the Arts: Practical Guidance and Inspiration for Creative and Performing Artists
Comments are welcome!
Travel photo of the month*
Ahmedabad, India
*Favorite travel photographs that have not yet appeared in this blog
Comments are welcome!
Pearls from artists* # 345
Barbara working on an interview. Photo: Maria Cox
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
You begin your journey as an artist from sacred motives, with dreams and high hopes, and also, perhaps, from a place of painful turmoil or other inner necessity. From these powerful drives comes your conscious decision to pursue a life in art, your resolve to call yourself an artist whatever the consequences. You are the one nodding in agreement when the painter John Baldessari says, “Art is about bloody-mindedness. It’s not about living the good life. In the end, it’s just you and the art.”
Eric Maisel in A Life in the Arts: Practical Guidance and Inspiration for Creative and Performing Artists
Comments are welcome!
Q: What’s on the easel today?
Work in progress
A: I continue slowly working on an untitled 38” x 58” pastel painting, number nine in the “Bolivianos” series. It still has a long way to go.
Comments are welcome!
Pearls from artists* # 344
Untitled, c-print, 24 x 24,” edition of 5
*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 live in a most remarkable world, thick with mysteries. It all called to mind the British physicist Sir Arthur Eddington’s memorable explanation of how the universe works: “Something unknown is doing we don’t know what.”
But the best part is: I don’t need to know what.
… All I know for certain is that this is how I want to spend my life – collaborating to the best of my ability with forces of inspiration that I can neither see, nor prove, nor command, nor understand.
It’s a strange line of work, admittedly.
I cannot think of a better way to pass my days.
Elizabeth Gilbert in Big Magic: Creative Living Beyond Fear
Comments are welcome!
Q: What do you see when you look back at your early efforts?
“Myth Meets Dream,” soft pastel on sandpaper, 47″ x 38,” 1993
A: I see continuity in subject matter and in medium, surely. For thirty-three years I have been inspired by foreign travel and research. In addition, I remain devoted to pushing the limits of what soft pastel can do and to promoting its merits as a fine art medium.
Here and there I see details I would render differently now; not exactly mistakes, but things that maybe could be done better. Fortunately, I think, all of my work is framed behind glass or plexiglas, making it extremely difficult to attempt revisions.
Perhaps most important of all, I see the long personal road that has advanced my work to its present state. Each gain has been hard-fought.
Comments are welcome!
Pearls from artists* # 349
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.
If Dostoyevsky, Flaubert, and so many others were able to create great artistic works, it was because they were able to pull off something few adults can find it in themselves to do: they were able to suspend all final judgments about life and the universe in order to play…
The spirit of work is concerned with self-preservation. It evaluates concepts and ideas in terms of their practical value. Building roads, raising walls, running elections, debating policies, educating the young – all of these are purposive actions ultimately aimed at upholding social structures, changing those structures, or promoting one’s place within society. The spirit of work is the home of the ego, the part of us that has evolved to survive and thrive. One of the conditions of the artistic creation seems to be the ability to move frame this frame of mind into the spirit of play. As many artist have said in varying ways, the trick is to forget everything and create for the sake of creating. No worthwhile play, of course, is without effort. As the painstaking care Flaubert put into every line of his books makes clear, the spirit of play is sometimes the most exciting. Nevertheless, art remains in essence a game, an activity undertaken for its own sake, no matter how difficult. Like all games, it requires the establishment of a perimeter within which things that one might take very seriously in ordinary life are given only relative value. The perimeter suspends all the conventional rules, allowing the artist to turn the world on its head and let the imagination roam freely.
No sooner have we entered the spirit of play than we see things differently.
J.F. Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
Comments are welcome!
barbararachkoscoloreddust.com 