Category Archives: Black Paintings

Q: What has been your scariest experience as an artist?

"Between," soft pastel on sandpaper, 20" x 26"

“Between,” soft pastel on sandpaper, 20″ x 26″

A:  It was the approximately six months in 2007 when I finished the “Domestic Threats” series and was blocked, certain that a strong body of work was behind me, yet not knowing what in the world to do next!  For a professional artist who had been working non-stop for 21 years, this was a profoundly painful, confusing, and disorienting time.  I remember continuing to force myself to go to the studio and for lack of anything much to do there, spending long hours reading and thinking about art.

Eventually after all of this reflection, I had an epiphany.  “Between,” with drastically simplified imagery, was the first in a new series called, “Black Paintings.”  I like to think this series includes work that is considerably richer and more profound than the previous “Domestic Threats.”


Co
mments are welcome! 

Start/Finish of “Stalemate,” soft pastel on sandpaper, 38″ x 58″

Start

Start

Finished and signed, lower right

Finished and signed, lower right

Comments are welcome!

 

 

 

Q: On an average day in the studio, how much of your time is spent in the physical act of making art?

Working

Working

A:  My typical studio day is from 10:00 to 5:00.  When I arrive, I often read for half an hour.  Reading helps me relax and focus and get into the mindset I need to do my work.   While I read, I look at the painting on my easel, assess it’s current state, and decide where to begin working.

Then I work until lunch time, generally around 1:00.  After lunch I work for another five hours or so, taking a break whenever I want.

This has been more or less my schedule for five days a week for years.  At an earlier point as I was developing my craft, I would work 9- or 10-hour days and six days a week.

My creative process is relatively slow.  In a typical year I create five  new pastel paintings.  This year I am right on schedule.  I have completed four and am working on a fifth.

Comments are welcome!    

Q: Is your work fast or is it slow?

Barbara's studio

Barbara’s studio

A:  I work extremely slowly.  I’m a full-time artist and I spend three or four months on each pastel painting, sometimes longer if it’s an especially difficult piece.  

I generally have two pastel paintings in progress and switch off when one is causing problems.  The paintings tend to interact and influence each other.  Having two in progress helps me resolve difficult areas quicker, plus when one is finished, I still have something to work on.  So there’s rarely any dead time in my studio.

Comments are welcome!

Start/Finish of “Survivors,” soft pastel on sandpaper, 20″ x 26,” 2017

 

Erased charcoal underdrawing

Erased charcoal underdrawing

Finished and signed

Finished and signed

Comments are welcome!

Pearls from artists* # 263

"Alone Together," soft pastel on sandpaper, 20" x 26"

“Alone Together,” soft pastel on sandpaper, 20″ x 26″

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

Making art and viewing art are different at their core.  The sane human being is satisfied that the best he/she can do at any given moment is the best he/she can do at any given moment.  That belief, if widely embraced, would make this book unnecessary, false, or both.  Such sanity is, unfortunately, rare.  Making art provides uncomfortably accurate feedback about the gap that inevitably exists between what you intended to do, and what you did.  In fact, if artmaking did not tell you (the maker) so enormously much about yourself, then making art that matters to you would be impossible.  To all viewers but yourself, what matters is the product:  the finished artwork.  The viewers’ concerns are not your concerns (although it’s dangerously easy to adopt their attitudes).  Their job is whatever it is:  to be moved by art, to be entertained by it, to making a killing off it, whatever.  Your job is to learn to work on your work.

David Bayles and Ted Orlando in Art & Fear:  Observations On the Perils (and Rewards) of ARTMAKING

Comments are welcome!

Start/Finish of “Conundrum,” soft pastel on sandpaper, 38″ x 58″ image, 50″ x 70″ framed

Rough charcoal drawing on sandpaper

Rough charcoal drawing on sandpaper

Finished

Finished

Comments are welcome!

Q: What’s on the easel today?

Work in progress

Work in progress

A:  I have two works in progress.  Both are based on photographs I shot at a stunning mask exhibition in La Paz, Bolivia in May.  At present I am tying to ‘ramp up’ my imagery and believe these two pastel paintings to be particularly striking.  However, both still have a long way to go so I hope I’m not speaking too soon.

Comments are welcome!   

My blog turns 5 years old today! 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! 

 

If you were to visit my studio now, you would see more tables chock full of pastels and notice other changes from the photo above.  Most importantly though, what I wrote five years ago still rings true! 

Comments are welcome!     

Start/Finish of “Spectral,” soft pastel on sandpaper, 20″ x 26″

Beginning

Beginning

Finished, before signing

Finished, before signing