Please read about our beautiful life together here http://findingfifteen.com/sample-chapter/
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Q: You are a multi-talented woman! Tell us about your book, “From Pilot to Painter,” and how writing, for you, compares to painting and photography. Which do you prefer?
A: I am pleased that my eBook FROM PILOT TO PAINTER is available on Amazon and iTunes. It is based on my blog and is part memoir, including my personal loss on 9/11, insights into my creative practice, and intimate reflections on what it’s like to be an artist living in New York City now. The eBook includes new material not found on the blog, plus 25+ reproductions of my vibrant pastel-on-sandpaper paintings, a Foreword by Ann Landi (who writes for ARTnews and The Wall Street Journal), and more.
“Barbara Rachko’s Colored Dust” (the title of my blog) continues to be a crucial part of my overall art practice. Blogging twice a week forces me to think deeply about my work and to explain it clearly to others. The process has helped me develop a better understanding about why I make art and has encouraged me to become a better writer.
From the beginning in the 1980s I used photographs as reference material and Bryan would shoot 4” x 5” negatives of my elaborate setups with his Toyo-Omega view camera. In those days I rarely picked up a camera except when we were traveling. After Bryan was killed on 9/11, I inherited his extensive camera collection – old Nikons, Leicas, Graphlex cameras, etc. – and I wanted to learn how to use them. In 2002 I enrolled in a series of photography courses (about 10 over 4 years) at the International Center of Photography in New York. I learned how to use all of Bryan’s cameras and how to make my own big color prints in the darkroom. Along the way I discovered that the sense of composition, form, and color I developed over many years as a painter translated well into photography. The camera was just another medium with which to express my ideas. Astonishingly, in 2009 I had my first solo photography exhibition in New York.
It’s wonderful to be both a painter and a photographer. Pastel painting will always be my first love, but photography lets me explore ideas much faster than I ever could as a painter. Paintings take months of work. To me, photographs – from the initial impulse to hanging a framed print on the wall – are instant gratification.
For two years I have been using my iPad Pro to capture thousands of travel photographs. Most recently, I visited Gujarat and Rajasthan in India. I have never been inclined to use a sketchbook so composing photos on my iPad keeps my eye sharp while I’m halfway around the world, far from my studio practice.
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Q: (Part II) Would you share your story of how creating art enabled you to heal after losing your husband on 9/11?
A: Continued from last Saturday’s post…
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. Always Bryan had 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 a few 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 for a full-time professional artist, this was a painful few months. 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 is always there.
Still the work continues to evolve. Recently I began my third pastel painting series called, “Bolivianos,” based on a mask exhibition encountered in La Paz at the 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!
Q: (Part I) Would you share your story of how creating art enabled you to heal after losing your husband on 9/11?
A: On June 16, 2001, I married Dr. Bryan Jack, my longtime companion and soulmate, during a very private ceremony in the garden of an historic Alexandria, Virginia residence. In attendance were a justice of the peace, me, and Bryan. He and I were 48 years old and this was the first marriage for us both. Sadly, we never celebrated an anniversary. Exactly 87 days later my new husband was the victim of a terrorist attack.
On September 11, 2001, Bryan, a high-ranking federal government employee, a brilliant economist, and a budget analyst at the Pentagon, was en route to Monterey, CA to give his monthly guest lecture for an economics class at the Naval Postgraduate College. He boarded the American Airlines plane out of Dulles Airport that was high-jacked and crashed into the Pentagon, killing 189 people.
To this day I consider how easily I, too, could have been killed on 9/11, if I had just decided to travel with Bryan to California. Plus, the plane crashed directly into my Navy office on the fifth floor E-ring of the Pentagon. (I am a retired Navy Commander and worked at the Pentagon for many years). But for a twist of fate, we both would have died: Bryan on the plane, me either beside Bryan or inside the building.
In September 2001 Bryan and I had been together for fourteen and a half years. Surprisingly, we were happier than we had ever been. At a time when other couples we knew were settling into a certain boredom and routine, our life together was growing richer and more interesting. So losing Bryan – especially then – was heart-breaking, cruel, and devastating beyond comprehension. It was so unfair. I was numb and in shock.
The next six months passed by in a blur. But I had made a decision and pledged that I would not let the 9/11 attackers claim me as one more victim. My life had been spared for a reason so I began to pick up the pieces and worked to make every day count. Even many years later, wasting time still feels like a crime.
The following summer 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.
Continued next week…
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Q: Would you speak about how important it was to get back to work after losing your husband on 9/11?
A: On September 11, 2001, my husband Bryan, a high-ranking federal government employee, a brilliant economist (with an IQ of 180 he is still the smartest man I’ve ever met) and a budget analyst at the Pentagon, was en route to Monterrey, CA to give his monthly guest lecture for an economics class at the Naval Postgraduate College. He had the horrible misfortune of flying out of Dulles airport and boarding the plane that was high-jacked and crashed into the Pentagon, killing 189 people. Losing Bryan was the biggest shock of my life and devastating in every possible way.
The following summer I was ready to – I HAD to – get back to work. Learning about photography and pastel painting became avenues to my well-being. I use reference photos for my paintings, so my first challenge was to learn how to use Bryan’s 4 x 5 view camera (Bryan always took these reference photos for me).
In July 2002 I enrolled in a one-week view camera workshop at the International Center of Photography in New York. Much to my surprise, I had already acquired substantial technical knowledge from watching Bryan. Still, after the initial workshop, I threw myself into this new medium and continued studying photography at ICP for several years. I began with Photography I and enrolled in many more classes until I gradually learned how to use Bryan’s extensive camera collection, to properly light my setups, and to print large chromogenic photographs in a darkroom.
In October 2009 it was very gratifying to have my first solo photography exhibition with HP Garcia in New York. (Please see http://barbararachko.art/images/PDFS/BarbaraRachko-HPGargia.pdf). I vividly remember tearing up at the opening as I imagined Bryan looking down at me with his beautiful smile, beaming as he surely would have, so proud of me for having become a respected photographer.
Continuing to make art had seemed an impossibility after Bryan’s death. However, the first large pastel painting that I created using a self-made reference photograph proved my life’s work could continue. The title of that painting, “She Embraced It and Grew Stronger,” is certainly autobiographical. “She” is me, and “it” means continuing on without Bryan and living life for both of us.
Comments are welcome!
Q: One can’t help but make connections between the devastating effects of 9/11 and your series, “Domestic Threats.” Would they be right?
A: Well, not exactly, since I began this work in 1991.
All of the paintings in this series are set in places where I reside or used to live, either a Virginia house or two New York apartments, i.e., my personal domestic environments. Each painting typically contains a conflict of some sort, at least one figure that is being menaced or threatened by a group of figures. For example, in “No Cure for Insomnia (above) the threatened figure is me. So it was an easy decision to name the series “Domestic Threats.” My idea was that these paintings were psychological dramas: surrealistic, metaphoric depictions of human fears, anxieties, inner conflicts, demons, etc.
But depending on what is/was going on in the country at a particular moment, people make other associations. Since my husband was killed on 9/11, people think the title, “Domestic Threats,” was prescient and ascribed all kinds of domestic terrorism associations to the work. For a time viewers thought I was hinting at scenes of domestic violence, but that also is not what I intended. The title “Domestic Threats” has proven to be fraught with associations that I never considered.
However, I am fine with any interpretations that are elicited because it means my paintings are getting a response. That’s important. I have been working, studying, and thinking about art for thirty years and hopefully, that’s reflected in the work I create. It’s natural that it takes time for people to ponder all the complexities in a work of art.
Maybe this comment by the late Gerrit Henry, a New York critic, is more true now than when he wrote it sixteen years ago: “What we bring to a Rachko, in other words, we get back, bountifully.”
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A. That is a long story. To get far away from New York for the ten-year anniversary of 9/11, my friend, Donna Tang, and I planned a two-week road trip to see land art sites in Arizona, New Mexico, Utah, and Colorado. (Donna did excellent research).
We hoped for a private tour of Roden Crater with James Turrell, which is not easy to arrange. I had also invited my friend Ann Landi, an art critic and arts writer, to join us, hoping she might get an interview with Turrell and write an article for Artnews. Turrell has been working on Roden Crater for 30+ years so Ann was interested in seeing it too! Ann contacted Turrell’s gallery – Gagosian – but they later relayed Turrell’s refusal.
We were planning to see other land art sites. As an alternative to Roden Crater and Turrell, Ann pitched a story to The Wall Street Journal about Sun Tunnels and Nancy Holt (Robert Smithson’s wife, who as the only woman in the land art movement, has never been given her due). The Journal said yes, so Ann made plans to join Donna and me in Salt Lake City.
The three of us visited Sun Tunnels, Spiral Getty, and other sites together. Ann had a brand new point-and-shoot camera that she hadn’t yet learned how to use. I always take lots of photos whenever I travel. After we returned home, I sent Ann a few images and she asked permission to submit them with her article. I was thrilled when The Wall Street Journal requested JPEGs. It was the first time I’ve had a photograph published in a major newspaper.
Comments are welcome!