Category Archives: Pastel Painting
Pearls from artists* # 124
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.
You give yourself a creative life – pursuing those questions and aesthetic conditions that mean the most to you. What are you interested in? Landscape and gender and nuclear power are each worthy subjects and there are plenty more. Do you aspire to exhibit in museums or public spaces or virtual realms? Your job is to figure out how to best engage these distinct contexts. Your studio may be a large industrial space or a second bedroom or the kitchen table, where you can work days or nights while wearing your favorite sweatpants and drinking tea as music blasts or silence is maintained. You might produce five or fifty objects a year, using bronze or oil paint or folded paper, and these can be large or tiny, made to last for centuries or a few weeks. Maybe you’ve been a printmaker for several years and all of a sudden you decide to make videos. OK. You might be influenced by Pop Art or Minimalism or Feminism or Fluxus. How are you using these various histories to your advantage? Does Edward Hopper or Gordon Matta-Clark or Agnes Martin or David Hammons inspire you? If not, who does? Try to understand the reasons for your choices, and if you feel the need to shift gears, indulge that impulse. Grant yourself the permission to acquire new skills, travel to biennials, buy a new computer, start a reading group. Risk not knowing what will happen when you do.
Stephen Horodner in THE ART LIFE: On Creativity and Career
Comments are welcome!
Q: What’s on the easel today?
Preliminary sketch
A: I’m working on a tonal charcoal sketch in preparation for my next large pastel painting.
Comments are welcome!
Pearls from artists* # 123
“Quartet” with self-portrait
* 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 artists should not underestimate the importance of the stories we tell ourselves about how our art will make a difference. These motivational fictions describe the ways a work might interact with the world to justify our extravagant, and potentially narcissistic labors: that our art has transformational potential. A work might be understood as being critical of society or sanctuary from it, for instance, or a Trojan horse sent to the enemy as a nasty gift to unsettle their deeply entrenched frames of mind. We need renewable encouragement to make fresh work year after year in the face of uncertain rewards.
David Humphrey quoted in THE ART LIFE: On Creativity and Career by Stuart Horodner
Comments are welcome!
Q: In the “Black Paintings” you create a deep intellectual interaction and communicate a wide variety of states of mind. I admit that certain “Black Paintings” unsettle me a bit. I see in this series an effective mix between anguish and happiness. Rather than simply describing something, these paintings pose a question and force us to contemplation. Can you talk about this aspect of your work?
“The Storyteller,” soft pastel on sandpaper, 20″ x 26″
A: I’m sure you and other viewers will see all kinds of states of mind, like anguish, happiness, and everything in between. I think that’s wonderful because it means my work is communicating a message to you. Sometimes people have told me that my images are unsettling and that’s fine, too. I would never presume to tell anyone what to think about my work. As one reviewer put it, “What you bring to my work you get back in spades!”
Some of this is intentional, but some is not. My day-to-day experiences – what I’m thinking about, what I’m feeling, what I’m reading, the music I’m listening to, etc. – get embedded into the work. I don’t understand exactly how that happens, but I am glad it happens. This work does come from a deep place, much deeper than I am able to explain even to myself. After nearly three decades as an artist, the intricacies of my creative process are still a mystery. Personally, I am very fond of mysteries and don’t need to understand it all.
Comments are welcome!
Q: What’s on the easel today?
Work in progress
A: I am putting finishing touches on a small pastel painting called, “Spectral.” I worked on it before and after Halloween. Somewhat atypical for my pastel paintings, it clearly reflects the time of year that it was created.
Comments are welcome!
Pearls from artists* # 120
In the studio, Photo: Britta Konau
* 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 solitude artists can experiment, make a mess, sustain notes for the joy of it, imagine themselves on any stage in any play. In the studio or practice room, they are not on display and need not wear their public face. They can be their silent selves, their worst selves. If there is unfreedom on the stage or in the gallery, there is freedom in the studio. As the visual artist Allen Kaprow put it, “Artists’ studios do not look like galleries, and when an artist’s studio does, everyone is suspicious.” Galleries are for show; studios are where messes are made and where the real work happens.
Eric Maisel in A Life in the Arts
Comments are welcome!
Q: I’m convinced that some information and ideas are hidden, or even encrypted in the environment we live in, so we need a way to decipher them. Maybe one of the roles of an artist is to reveal unexpected sides of Nature, especially of our inner Nature. What’s your opinion about this?
Barbara’s studio
A: I agree. Artists in general are more sensitive to these sorts of hidden ideas, feelings, emotions, etc. in ways that most non-artists are not. It’s a cliche but it’s true.
Comments are welcome!
Q: I have been always fascinated with the re-contexualizing power of Art and with the way some objects or even some concepts often gain a second life when they are “transduced” on a canvas or in a block of marble. So I would like to ask you if in your opinion, personal experience is an absolutely indespensable part of a creative process. Do you think that a creative process could be disconnected from direct experience?
Barbara’s studio
A: Certainly personal experience is an indispensable and inseparable part of the creative process. For me art and life are one and I suspect that is true for most artists. When I look at each of my pastel paintings I can remember what was going on in my life at the time I made it. Each is a sort of veiled autobiography waiting to be decoded and in a way, each is also a time-capsule of the larger zeitgeist. It’s still a mystery how exactly this happens but all lived experience – what’s going on in the world, books I’m reading and thinking about, movies I’ve seen that have stayed with me, places I’ve visited, etc. – overtly and/or not so obviously, finds its way into the work.
Life experience also explains why the work I do now is different from my work even five years ago. In many ways I am not the same person.
The inseparableness of art and life is one reason that travel is so important to my creative process. Artists always seek new influences that will enrich and change our work. To be an artist, indeed to be alive, is to never stop learning and growing.
Comments are welcome!
Q: What’s on the easel today?
Work in progress
A: I continue working on a large pastel painting called “Motley.”
Comments are welcome!
barbararachkoscoloreddust.com 
Q: Another interesting series of yours that has impressed me is your recent “Black Paintings.” The pieces in this series are darker than the ones in “Domestic Threats.” You create an effective mix between the dark background and the few bright tones, which establish such a synergy rather than a contrast, and all the dark creates a prelude to light. It seems to reveal such a struggle, a deep tension, and intense emotions. Any comments on your choice of palette and how it has changed over time?
Dec 6
Posted by barbararachkoscoloreddust
West 29th Street studio
A: That is a great question!
You are correct that my palette has darkened. It’s partly from having lived in New York for so long. This is a generally dark city. We famously dress in black and the city in winter is mainly greys and browns.
Also, the “Black Paintings” are definitely post-9/11 work. My husband, Bryan, was tragically killed onboard the plane that crashed into the Pentagon. Losing Bryan was the biggest shock I ever have had to endure, made even harder because it came just 87 days after we had married. We had been together for 14 ½ years and in September 2001 were happier than we had ever been. He was killed so horribly and so senselessly. Post 9/11 was an extremely difficult, dark, and lonely time.
In the summer of 2002 I resumed making art, continuing to make “Domestic Threats” paintings. That series ran its course and ended in 2007. Around then I was feeling happier and had come to better terms with losing Bryan (it’s something I will never get over but dealing with loss does get easier with time). When I created the first “Black Paintings” I consciously viewed the background as literally, the very dark place that I was emerging from, exactly like the figures emerging in these paintings. The figures themselves are wildly colorful and full of life, so to speak, but that black background is always there.
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Posted in 2014, An Artist's Life, Art in general, Art Works in Progress, Black Paintings, Creative Process, Domestic Threats, Inspiration, Painting in General, Pastel Painting, Photography, Studio, Working methods
Comments Off on Q: Another interesting series of yours that has impressed me is your recent “Black Paintings.” The pieces in this series are darker than the ones in “Domestic Threats.” You create an effective mix between the dark background and the few bright tones, which establish such a synergy rather than a contrast, and all the dark creates a prelude to light. It seems to reveal such a struggle, a deep tension, and intense emotions. Any comments on your choice of palette and how it has changed over time?
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