Category Archives: Bolivianos
Q: What’s on the easel today?
Preliminary sketch
A: This is a preliminary charcoal sketch for my next large (58” x 38”) pastel painting. I loved seeing “The Champ,” 26” x 20,” blown-up as a poster in the London Underground so I decided to create a larger original. Now I can’t wait to tackle all that hair! So far the sketch resembles a Rastafarian, but who knows if that will carry over to the pastel painting! Stay tuned.
Comments are welcome!
Q: What’s on the easel today?
“Sentinels,” Soft Pastel on Sandpaper, 38” x 58”
A: At last, I have put finishing touches on “Sentinels,” 38” x 58,” and signed it! The photographer will photograph it and then, on my next trip south, this painting goes to the framer in Virginia.
Comments are welcome!
Q: Can you tell us about the different series of work you have created and what they embody?
Barbara’s studio with work in progress
A: The Black Paintings series of pastel-on-sandpaper paintings grew directly from an earlier series, Domestic Threats. While both use cultural objects as surrogates for human beings acting in mysterious, highly-charged narratives, in the Black Paintings I replaced all background details of my actual setup (furniture, rugs, etc.) with lush black pastel. In this work the ‘actors’ are front and center.
While traveling in Bolivia two years ago, I visited a mask exhibition at the National Museum of Ethnography and Folklore in La Paz. The masks were presented against black walls, spot-lit, and looked eerily like 3D versions of my Black Paintings. I immediately knew I had stumbled upon a gift. So far I have completed nine pastel paintings in the Bolivianos series. One is awaiting finishing touches, one is in progress now, and I am planning the next one.
All of my pastel paintings are an example of a style called “contemporary conceptual realism” in which things are not quite as innocent as they seem. In this sense each painting is a kind of Trojan horse. There is plenty of backstory to my images, although I usually prefer not to over-explain them. Some mystery must always remain in art.
The world I depict is that of the imagination and this realm owes little debt to the natural world. I recently gave an art talk where I was reminded how fascinating it is to learn how others respond to my work. As New York art critic Gerrit Henry once remarked, “What we bring to a Rachko… we get back, bountifully.”
Comments are welcome!
Q: What’s on the easel today?
Work in progress
A: I’m at the beginning on a small (26” x 20”) pastel painting. The subject is a jaguar mask I photographed in La Paz. This is painting number eleven in the “Bolivianos” series. Lots of green colored dust now!
Comments are welcome!
Q: During one of the most gripping times of your life, you were personally affected by the 9/11 attack on our country. Your husband was killed on the plane that crashed into the Pentagon. Would you mind telling us about it and how it has shaped your work?
‘Mi Teleferico’ line, La Paz, Bolivia
A: In the summer of 2002 I was ready to – I HAD to – get back to work in my studio. I knew exactly what I must do. More than ever before, learning and painting would become the avenues to my well-being.
Because I use reference photos for my pastel paintings, the first challenge was to learn how to use Bryan’s 4 x 5 view camera. At that time I was not a photographer. Bryan had always taken reference photos for me.
In July 2002 I enrolled in a view camera workshop at New York’s International Center of Photography. Much to my surprise I had already absorbed quite a lot from watching Bryan. After the initial workshop, I continued more formal studies of photography for several years. In 2009, I am proud to say, I was invited to present a solo photography exhibition at a New York gallery!
In 2003 I resumed making my Domestic Threats series of pastel paintings, something that had seemed impossible after Bryan’s death. The first large pastel painting that I created using a reference photograph taken by me confirmed that my life’s work could continue. The title of that painting, “She Embraced It and Grew Stronger,” was autobiographical. “She” is me, and “it” meant continuing on without Bryan and living life for both of us.
Having had a long successful run, the Domestic Threats series finally ended in early 2007. Around that time I was feeling happier and had come to better terms with losing Bryan. While this is a tragedy I will never truly be at peace with, dealing with the loss became easier with time.
Then in 2007 I suddenly became blocked and did not know where to take my work next. I had never experienced creative block and especially for a full-time professional artist, this was a painful time. Still, I continued to go to the studio every day and eventually, thanks to a confluence of favorable circumstances, the block ended.
My next pastel painting series was called Black Paintings. I viewed the black background as literally, the very dark place that I was emerging from, exactly like the figures emerging in these paintings. The figures themselves were wildly colorful and full of life, but that black background – one critic has dubbed it my “blackground” – is always there.
Still the work continues to evolve. In 2017 I began my third pastel painting series called Bolivianos, based on a mask exhibition encountered in La Paz at the The National Museum of Ethnography and Folklore. Many people have proclaimed this to be my most bold, daring, and exciting pastel painting series yet. And I think they may be right! Continuing on the journey I began 30+ years ago, I am looking forward to creating many new, striking pastel paintings!
Comments are welcome!
Start/Finish of “Poseur,” Soft Pastel on Sandpaper, 58” x 38”
Start
Finished, signed lower left
Comments are welcome!
Q: What’s on the easel today?
Work in progress
A: I’m beginning a new 26” x 20” pastel painting, which will be number eleven in the “Bolivianos” series.
Comments are welcome!
Pearls from artists* # 359
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
Comments are welcome!
Q: What’s on the easel today?
Work in progress
A: “Poseur,” Soft Pastel on Sandpaper, 58’ x 38” is awaiting finishing touches… at last!
Comments are welcome!
Q: What’s on the easel today?
Work in progress
A: I continue working on the latest in the “Bolivianos” series, “Poseur,” Soft Pastel on Sandpaper, 58” x 38.” I haven’t decided yet whether to put a pattern on the fabric.
Comments are welcome!
