Pearls from artists* # 283

Wintry day in DC

Wintry day in DC

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

I live alone, perhaps for no good reason, for the reason that I am an impossible creature, set apart by a temperament I have never learned to use as it could be used, thrown off by a word, a glance, a rainy day, or one drink too many.  My need to be alone is balanced against my fear of what will happen when suddenly I enter the huge empty silence if I cannot find support there.  I go up to Heaven and down to Hell in an hour, and keep alive only by imposing upon myself inexorable routines.  I write too many letters and too few poems.  It may be outwardly silent here but in the back of my mind is a clamor of human voices, too many needs, hopes, fears.  I hardly ever sit still without being haunted by the “undone” and the “unsent.”  I often feel exhausted, but it is not my work that tires (work is a rest); it is the effort of pushing away the lives and needs of others before I can come to work with any freshness and zest.

May Sarton in Journal of a Solitude:  The intimate diary of a year in the life of a creative woman   

Comments are welcome!

Q: What’s on the easel today?

Finished and signed

Finished and signed

A:  I have finally finished “Oracle,” soft pastel on sandpaper, 26” x 20.”  It’s the third piece in my “Bolivianos” series. 

Comments are welcome!

Pearls from artists* # 282

"The Champ," soft pastel on sandpaper, 26" x 20"

“The Champ,” soft pastel on sandpaper, 26″ x 20″

*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 longstanding, at one time almost universal, dismissal of one of the greatest artists of the twentieth century as essentially decorative and superficial is based, at any rate in part, on a simplistic response to the poise, clarity and radiant colour of Matisse’s work that fails to take account of the apprehensive and at times anguished emotional sensibility from which it sprang.

Hilary Spurling in Matisse the Master, A Life of Henri Matisse:  The Conquest of Colour, 1909 – 1954  

Comments are welcome!

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! 

Pearls from artists* # 281

"Poker Face," soft pastel on sandpaper, 38" x 58"

“Poker Face,” soft pastel on sandpaper, 38″ x 58″

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

Interviewer:  Do you think criticism helps any?

Capote: Before publication, and if provided by persons whose judgment you trust, yes, of course criticism helps.  But after something is published, all I want to hear is praise.  Anything less is a bore, and I’ll give you fifty dollars if you produced a writer who can honestly say he was ever helped by the prissy carpings and condescensions of reviewers.  I don’t mean to say  that none of the professional critics are worth paying attention to – but few of the good ones review on a regular basis.  Most of all, I believe in hardening yourself against opinion.  I’ve had, and continue to receive, my full share of abuse, some of it extremely personal, but it doesn’t faze me any more.  I can read the most outrageous libel about myself and never skip a pulsebeat.  And in this connection there is one piece of advice I strongly urge:  never demean yourself by talking back to a critic, never.  Write those letters to the editor in your head, but don’t put them on paper.       

Truman Capote in Writers at Work:  The Paris Review Interviews First Series, edited, and with an introduction by Malcolm Crowley

Comments are welcome!

Q: Would you share your current elevator pitch?

Barbara’s studio

Barbara’s studio

A:  Here it is:

I live in New York and have been a working artist for more than thirty years.  I create original pastel paintings that use my large collection of Mexican and Guatemalan folk art – masks, carved wooden animals, papier mache figures, and toys – as subject matter.  

Blending with my fingers, I spend months painstakingly applying dozens of layers of soft pastel onto acid-free sandpaper.  My self-invented technique achieves extraordinarily rich, vibrant color and results in paintings that uniquely combine reality, fantasy, and autobiography.

My background is extremely unusual for an artist.  I am a pilot, a retired Navy Commander, and a 9/11 widow.  Besides making art, I am a published author and blogger best known for my eBook, “From Pilot to Painter,” on Amazon and iTunes, and my popular blog, “Barbara Rachko’s Colored Dust.”

Please see images and more at http://barbararachko.art/en/

Comments are welcome!  

Pearls from artists* # 280

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

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

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

What is the task?  To compose a work that communicates on several levels, as in a parable, devoid of the stain of cleverness.

What is the  dream?  To write something fine, that would be better than I am, and that would justify my trials and indiscretions.  To offer proof, through a scramble of words, that God exists.

Who do I write?  My finger, as a stylus, traces the question in the blank air.  A familiar riddle posed since youth, withdrawing from play, comrades and the valley of love, girded with words, a beat outside.

Why do we write?  A chorus erupts.

Because we cannot simply live. 

Patti Smith in Devotion

Comments are welcome!

Travel photo of the month*

First snow of the season, Washington, DC

First snow of the season, Washington, DC

*Favorite travel photographs that have not yet appeared in this blog.

Comments are welcome!

Pearls from artists* # 279

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

“Offering,” 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.

Why is one compelled to write?  To set oneself apart, cocooned, rapt in solitude, despite the wants of others.  Virginia Woolf had her room.  Proust his shuttered windows.  Marguerite Duras her muted house.  Dylan Thomas his modest shed.  All seeking an emptiness to imbue with words.  The words that will penetrate virgin territority, crack unclaimed combinations, articulate the infinite. The words that formed Lolita, The Lover, Our Lady of the Flowers.  

There are stacks of notebooks that speak of years of aborted efforts, deflated euphoria, a relentless pacing of the boards.  We must write, engaging in a myriad of struggles, as if breaking in a willful foal.  We must write, but not without consistent effort and a measure of sacrifice:  to channel the future, to revisit childhood, and to rein in the follies and horrors of the imagination for a pulsating race of readers. 

Patti Smith in Devotion

Comments are welcome!

Q: What’s on the easel today?

Work in progress

Work in progress

A:  I’m trying to finish “Oracle,” but every time I think I’m getting close, I see there are plenty of unresolved areas and/or things I can still improve.

Comments are welcome!