Category Archives: Studio
Q: What’s on the easel today?
A: “Overlord,” soft pastel on sandpaper, 58” x 38” awaits some finishing touches.
Comments are welcome!
Q: What’s on the easel today?
A: I’ve started a new 58” x 38” pastel painting.
Comments are welcome!
Q: How would you describe the inside of your studio?
A: My studio is an oasis in a chaotic city, a place to make art, to read, and to think. I love to walk in the door every morning because it is my absolute favorite place in New York! Even after thirty-six years, I still find the entire process of making a pastel painting completely engaging. I try to push my pastel techniques further every time I work in the studio.
There’s one more thing about my studio: I consider it my best creation because it’s a physical environment that anyone can walk into and occupy, as compared to my artworks, which are 2D paintings hanging flat on a wall. It has taken 25 years to get it the way it is now. I believe my studio is the best reflection of my growth as an artist. It changes and evolves as I change over the decades.
Comments are welcome!
Pearls from artists* # 503
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
… your life is short and rare and amazing and miraculous, and you want to do really interesting things and make really interesting things while you’re still here. I know that’s what you want for yourself, because that’s what I want for myself, too.
And you have treasures hidden within you – extraordinary treasures – and so do I and so does everyone around us. And bringing these treasures to light takes work and faith and focus and courage and hours of devotion, and the clock is ticking, and the world is spinning, and we simply do not have time anymore to think small.
Elizabeth Gilbert in Big Magic: Creative Living Beyond Fear
Comments are welcome!
Q: What’s on the easel today?
A: I’m still refining and adding details to “The Mentalist,” soft pastel on sandpaper, 26” x 20.” The frog especially needs more work.
Comments are welcome!
Start/Finish of ”Impresario,” soft pastel on sandpaper, 58” x 38” image, 70” x 50” framed
Note: the second photo was taken hundreds of hours and nearly five months later!
Comments are welcome!
Pearls from artists* # 499
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Life is a journey back to where you started from, Le Guin always said. True voyage is return. When you get there, you might know a little more than when you began.
Isn’t the real question this: Is the work worth doing? Am I, a human being, working for what I really need and want – or for what the State or the advertisers tell me I want? Do I choose? I think that’s what anarchism comes down to. Do I let my choices be made for me, and so go along with the power game, or do I choose? In other words, am I going to be a machine-part, or a human being?
Ursula K. Le Guin: The Last Interview and Other Conversations edited and with an introduction by David Streitfeld
Comments are welcome!
Q: What’s on the easel today?
A: I continue working on “The Mentalist,” soft pastel on sandpaper, 26” x 20.” Staying focused on making art is more difficult than usual considering the war in Ukraine and it’s widening repercussions.
Comments are welcome!
Q: You wear gloves and a mask when you are working in your studio, right? Can you tell me what kinds? (Question from Britta Konau)
A: I wear a paper surgical mask – the type that has become ubiquitous since COVID – bought from a local medical supply store. I thoroughly coat my hands with barrier cream – Art Guard – to prevent pastel getting into my skin. The cream has an added benefit of making it easy to wash pastel off my hands. (Neither gloves nor individual finger cots ever worked for me. They made my fingers sweat and did not allow for the fine touch needed to blend new colors directly on sandpaper. Plus, they shredded from being rubbed against the paper’s grit). Also, it is very important that you work with your hand below your face so pastel dust falls below your nose, where you are less likely to breathe it in.
Comments are welcome!
Q: Have you always signed your work on the front? (Question from Anna Rybat)
A: Yes, I have no other choice. I frame all of my pastel paintings under plexiglas soon after they’re completed. Were I to sign on the reverse, as do many painters, my signature would be hidden. Moreover, I sign using pastel pencils so the letters would get smudged.
As I compose and work to complete a pastel painting, I reserve a specific location for my signature. I sign discreetly so as not to interfere with the depicted imagery. In most cases you have to look closely to see my name.
Comments are welcome!
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