Blog Archives

Pearls from artists* # 573





In the 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.

The literature on creativity is full of tales of breakthrough experiences. These moments come when you let go of some impediment or fear, and boom – in whooshes the muse. You feel clarity, power, freedom, as something unforeseen jumps out at you. The literature of Zen… abounds with accounts of kensho and satori – moments of illumination and moments of total change of heart. There come points in your life when you simply kick the door open. But there is no ultimate breakthrough; what we find in the development of a creative life is an open-ended series of provisional breakthroughs. In this journey there is no endpoint because it is the journey into the soul.

Stephen Nachmanovitch in Free Play: Improvisation in Life and Art

Comments are welcome!

Pearls from artists* # 393

With my favorite interview

With my favorite interview

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

… Fernhoffer’s a man in love with our art, a man who sees higher and farther than other painters.  He’s meditated on the nature of color, on the absolute truth of line, but by dint of so much research, he has come to doubt the  very object of his investigations.  In moments of despair, he claims that drawing doesn’t exist and that lines are only good for rendering geometrical figures, which is far from the truth, since with line and with black, which is not a color, we can create a human figure.  There’s your proof that our art is like nature itself, composed of an infinity of elements:  drawing accounts for the skeleton, color supplies life, but life without a skeleton is even more deficient than a skeleton without life.  Lastly, there’s something even truer than all this, which is that practice and observation are everything to a painter; so that if reasoning and poetry argue with our brushes, we wind up in doubt, like our old man here, who’s as much a lunatic as he is a painter — a sublime painter who had the misfortune to be born into wealth, which has allowed him to wander far and wide.  Don’t do that to yourself!  A painter should philosophize only with a brush in his hand!

Honore Balzac in The Unknown Masterpiece

Comments are welcome!

Q: Last week you spoke about what happens before you begin a pastel painting. Would you talk about how you actually make the work?

Beginning a new pastel painting

Beginning a new pastel painting

A:  I work on each pastel-on-sandpaper painting for approximately three months.  I try to be in my studio 7 to 8 hours a day, five days a week. 

I make thousands of creative decisions as I apply and layer soft pastels (I have thousands to choose from), blend them with my fingers, and mix new colors directly on the sandpaper.   A finished piece consists of up to 30 layers of soft pastel. 

My self-invented technique accounts for the vivid, intense color that often leads viewers of my originals to look very closely and ask, “What medium is this?”  I believe I am pushing soft pastel to its limits, using it in ways that no other artist has done before.

Comments are welcome!

Q: How long does it take you to complete a pastel-on-sandpaper painting?

Barbara's studio

Barbara’s studio

A:  Mine is a slow and labor-intensive process.  First, there is foreign travel to find the cultural objects – masks, carved wooden animals, paper mâché figures, and toys – that are my subject matter.  If they are heavy I ship them home.  

Next comes planning exactly how to photograph them, lighting and setting everything up, and shooting a roll of 220 film with my Mamiya 6 camera.  I still like to use an analog camera for my fine art work, although I am rethinking this.  I have the film developed, decide which image to use, and order a 20” x 24” reference photograph from Manhattan Photo on West 20th Street.  

Then I am ready to start.  I work on each pastel-on-sandpaper painting for approximately three months.  I am in my studio 7 to 8 hours a day, five days a week.  During that time I make thousands of creative decisions as I apply and layer soft pastels (I have 8 tables-worth to choose from!), blend them with my fingers, and mix new colors directly on the sandpaper.  A finished piece consists of up to 30 layers of soft pastel.  My self-invented technique accounts for the vivid, intense color that often leads viewers of my originals to look very closely and ask, “What medium is this?”  I believe I am pushing soft pastel to its limits, using it in ways that no other artist has done.

Comments are welcome!