Category Archives: Art Works in Progress
Pearls from artists* # 174
Barbara’s studio, 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.
If you are older, trust that the world has been educating you all along. You already know so much more than you think you know. You are not finished; you are merely ready. After a certain age, no matter how you’ve been spending your time, you have very likely earned a doctorate in living. If you’re still here – if you have survived this long – it is because you know things. We need you to reveal to us what you know, what you have learned, what you have seen and felt. If you are older, chances are strong that you may already possess absolutely everything you need to possess in order to live a more creative life – except the confidence to actually do your work. But we need you to do your work.
Whether you are young or old, we need your work in order to enrich and inform our own lives.
Elizabeth Gilbert in Big Magic: Creative Living Beyond Fear
Comments are welcome!
Q: What’s on the easel today?
Work in progress
A: I continue working on a large pastel painting that combines some of my finds from Oaxaca and Mexico City, Kandy (Sri Lanka), and Panajachel (Guatemala).
Comments are welcome!
Pearls from artists* #172
Barbara in her 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.
I don’t need to understand what it all means, or where ideas are originally conceived, or why creativity plays out as unpredictably as it does. I don’t need to know why we are sometimes able to converse freely with inspiration, when at other times we labor hard in solitude and come up with nothing. I don’t need to know why an idea visited you today and not me. Or why it visited us bot. Or why it abandoned us both.
None of us can know such things, for these are among the great enigmas.
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!
Pearls from artists* # 171
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.
We should do everything calmly and only react emotionally to great works of art or noble deeds. Work quietly and without hurrying. As soon as you begin to sweat and get excited, be careful. Slack painting is the painting of a slacker.
The Journal of Eugene Delacroix, edited by Hubert Wellington
Comments are welcome!
Q: Your pastel paintings are immediately recognizable as yours alone. Did you consciously try to develop a signature style in your work?
Barbara’s studio
A: I don’t believe that is even possible. An artist’s style is something that evolves with plain hard work and experience, over many years of trial and error, as one finds what techniques work best and discards those that don’t. It is a process of continually experimenting, refining, and clarifying. In other words, style is something that emerges naturally as you gradually strive to improve your art-making.
Style develops in close connection to what an artist is saying as she undergoes a very personal and idiosyncratic journey. Again, it would seem improbable for an artist to strive for any particular style, since style is not something over which an artist can exert much conscious control.
I would even say that each artist’s unique style is inevitable. It would be nearly impossible now to make a pastel painting or photograph that does NOT look like a Rachko.
Comments are welcome!
Pearls from artists* # 170
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.
Every novelist ought to invent his own technique, that is the fact of the matter. Every novel worthy of the name is like another planet, whether large or small, which has its own laws just as it has its own flora and fauna. Thus, Faulkner’s technique is certainly the best one with which to produce Faulkner’s world, and Kafka’s nightmare has produced its own myths that make it communicable. Benjamin Constant, Stendahl, Eugene Fromentin, Jaques Riviere, Radiquet, all used different techniques, took different liberties, and set themselves different tasks. The work of art itself, whether its title is Adolphe, Lucien Leuwen, Dominique, Le Diable au corps or A la Recherché du temps perdu, is the solution to the problem of technique.
Francois Mauriac in The Paris Review Interviews: Writers at Work 1st Series, edited and with an Introduction by Malcolm Cowley
Comments are welcome!
Q: What’s on the easel today?
Work in progress
A: I am still working on “Charade.” This pastel painting has given me so many problems! In particular, I have not resolved the figure in the middle. l am not happy with the mouth and the entire figure needs more detail.
Comments are welcome!
Pearls from artists* # 167
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.
So the only environment the artist needs is whatever peace, whatever solitude, and whatever pleasure he can get at not too high a cost. All the wrong environment will do is run his blood pressure up; he will spend more time being frustrated or outraged.
William Faulkner in Writers at Work: The Paris Review Interviews, First Series
Comments are welcome!
Q: What’s on the easel today?
Work in progress
A: I am in the very early stages of a large pastel painting. I have never painted any of these figures before and they originated in different parts of the world. The bird (left) is from the Brooklyn Museum’s store, although it was hand carved in Guatemala. The standing figure is carved wood with beautiful painted details. It was a lucky find on a trip to Panajachel, Guatemala. The armadillo (red and grey) was made by one of my favorite Mexican folk artists (now deceased) and I believe it’s one of the last pieces he completed. It is a papier mâché figure that I found in a small shop in Mexico City. The figure on the upper right is a wooden mask bought from a talkative and talented artist at a hotel in Kandy, Sri Lanka. It depicts nagas (cobras), although you can’t tell that yet in the painting.
Comments are welcome!
Q: What one piece of artistic “equipment” could you not live without?
Untouched sandpaper
A: Undoubtedly, I could not make my work without UART sandpaper. Over the many months I spend creating a painting, I build layer upon layer of soft pastel. Because this paper is so “toothy,” it accepts all of the pastel the painting needs.
As many people know, I own and use a lot of soft pastel! My entire technique evolved around this sandpaper, which allows me to add and blend as many as thirty layers.
Comments are welcome!
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