Category Archives: Working methods

Pearls from artists* # 664

Working
Working

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

Throughout history, geniuses have attributed their breakthroughs to the time they spent alone, deep in thought. Frank Kafka assures us,

‘You need not leave your room. Remain sitting at your table and listen. You need not even listen, simply wait. You need not even wait, just learn to become quiet, and still, and solitary. The world will freely offer itself to you to be unmasked. It has no choice; it will roll in ecstasy at your feet.’

Artists have a special relationship with the passing hours. Our work is tangible evidence of how we mark and give value to time. We have a finite, unknown number of hours on Earth, so we will only leave behind so many pieces. Our artistic legacy is literally tied to our ability to steal time and maintain silence.

And yet, we exist in a time and place with a tremendous aversion to peace. We must fight both ourselves and others to acquire it. No one asked us if this is the kind of environment we want to inhabit. Corporations inundate every square inch of space with uninvited visual and auditory interference, designed to light up the addiction pleasure centers in our brains. Our ancestors would have found this environment assaulting and maddening. It is certainly causing damage to our mental health, happiness, and creativity. But, it is so ubiquitous that there is pressure to simply accept the anxiety-producing ‘new normal’: we have collectively surrendered our brain space to the colonization.

Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice

Comments are welcome!

Q: What’s on the easel today?

“Showman,” almost finished!


A: I’m putting finishing touches on “Showman,” soft pastel on sandpaper, 26” x 20”.

Comments are welcome!

Q: You use so many pastels in your work. Do you have a favorite?

Barbara’s Studio

A: When people ask if I have a favorite pastel among the thousands in my studio, I am quick to answer, “Rembrandt black pastel!”  This is the single color that I use the most.  I buy them by the dozens because it takes many layers of pigment – applied and hand-blended together, one on top of the other, on sandpaper – to achieve the intense black backgrounds that distinguish my “Bolivianos” series of pastel paintings.  Typically, I use up a minimum of two or three Rembrandt pastels to create these backgrounds.  A few years ago one New York art critic cleverly dubbed them, “Barbara’s black-grounds.”  How cool is that!

Comments are welcome!

Q: All art media involve some level of toxicity. Do you use an air filter? How do you protect yourself against the harmful effects of working with soft pastel?

Working on “Magisterial”

A:  No, but I wear a surgical mask when I work, to prevent breathing the pastel dust.  Also, before I begin, I apply a barrier cream, called Artgard, to my hands to prevent pigment being absorbed into my skin through any tiny cuts I may have.

My easel is tilted forward, allowing pastel dust to fall onto the easel and floor. I take care that my head is always higher than my hand as I work, so the dust is below my mouth and nose. I am well aware of the toxicity of pastel and believe I take the proper precautions.  After nearly forty years working with soft pastel, so far I’ve managed to stay healthy.

Comments are welcome.

Q: What makes you just want to run back to the studio and start something new?

Beginnings

A: For nearly four decades, I have always worked in series, which means that one pastel painting leads quite naturally into the next. Considerable thought and planning go into each one before I ever begin, so it would be uncharacteristic for me to just start something new out of nowhere.

That said, my favorite part of the months-long creative process is when I am starting a brand new pastel painting. I get excited each time I begin a new piece because beginnings are full of so much possibility! Soon I will be looking at something I have never created before. I’ll watch it gradually take shape over months and will be challenged to solve unforeseeable problems, to continually refine and improve it along the way. The goal is always, of course, to resolve it into some sort of successful existence. Whatever happens, I know I am about to go on a very intriguing journey that will undoubtedly expand my technical knowledge and make me a much better artist.

Comments are welcome!

Pearls from artists* # 655

Working
Working. Screenshot from “Barbara Rachko: True Grit,” directed by Jennifer Cox

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

My creative friends are some of the most hard-working, motivated people I know. While many non-artists have nine-to-five jobs and then relax at home, our work is never done. Yet, we are bombarded with tropes in books, movies, and television suggesting that we have chosen a ‘slacker’ profession. Even wildly successful artists can have family members who think they are self-absorbed, or that they should ‘get a real job.’ According to genius and award-winning filmmaker, Werner Herzog, his brother still routinely makes fun of his profession (Brooks, 2020). Some may call us selfish and tell us that we are only looking for attention, or feeding our egos. They may ask, “When are you going to grow up?” or ignorantly proclaim, “How nice it must be to only work when you want to.” Regardless of intention, this is not support.

Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice

Comments are welcome!

Q: What’s on the easel today?

Planning my next painting

A: In preparation for my next large “Bolivianos” painting, I made this preliminary charcoal drawing.

Comments are welcome!

Start/Finish of “Harbinger,” soft pastel on sandpaper, 26” x 20” image, 35” x 28.5” framed

Start

Finish

Comments are welcome!

Q: What’s on the easel today?

Pastel painting in progress


A: Here is the latest progress on “Showman,” soft pastel on sandpaper, 26” x 20”.

Comments are welcome!

Q: What’s on the easel today?

A: I am just beginning a small 26” x 20” pastel on sandpaper with the tentative title, “Con Man.”

Comments are welcome!