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Pearls from artists* # 181

"Epiphany," soft pastel on sandpaper, 38" x 58"

“Epiphany,” 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.

It takes courage to face the unfamiliar, to espouse the different; courage to fight one’s own prejudices only less than those of others.  Was it not a little child who first dared call the emperor naked?  It took great fortitude for Kepler to adhere to his new notion of infinity (as the second focus of a parabola), for, as he said, “The idea seems absurd, but I can find no flaw in it”; just as it did for Galileo to murmur among his inquisitors, “Yet the world does move.”  Most of us will never achieve great imaginative insights; we might at least attempt to be tolerant of those offered by others.

The Biological Basis of Imagination by R.W. Gerard in The Creative Process edited by Brewster Ghiselin

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Pearls from artists* # 157

Barbara's studio

Barbara’s 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.

Only passion gives us a powerful emotion, a supreme strength and the enduring energy to fulfill our duty.  It provides a stimulus, giving us hope and courage as well as stamina.  The strength, love and joy passion gives us have no limitations.  They are what drive us to sacrifice everything in order to achieve that which our passion requires.  Passion is like a bribe from the gods, its great enthusiasm enticing us to do a particular work and to enjoy that more than anything else, without thought of the sacrifices and consequences.

Samuel Adoquei in Origin of Inspiration:  Seven Short Essays for Creative People 

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Q: How do you achieve such richness of color in your pastel-on-sandpaper paintings?

"Motley," soft pastel on sandpaper, 38" x 58"

“Motley,” soft pastel on sandpaper, 38″ x 58″

 

A:  This results from the several months of studio time and many layers of soft pastel that go into creating each painting.  In a sense my technique is analogous to glazing done by the Old Masters.  They slowly built up layers of thin paint to achieve a high degree of finish.  Colors were not mixed physically, but optically.  I gradually build up layers of soft pastel, as many as 30, to create a pastel painting.  After a color is applied, I blend it with my fingers and push it into the sandpaper’s tooth.  It mixes with the color beneath to create a new color, continually adding richness, saturation, and intensity to the overall painting.

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Pearls from artists* # 70

New York, NY

New York, NY

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

Ultimately, whether you like a photograph or not, it has a history behind it.  When people look at a photograph, they want to believe in its authenticity, that they’re looking at something special that can’t be repeated.  The artist’s eye, the photographer’s eye, has created a moment of truth by pushing the button on the camera.  The issue is not that the moment is separate from the rest of the photograph; it is the element that links what’s happening to the  rest of the image, and the photographer creates a higher meaning, a higher sensibility, in that instant.  That’s difficult to achieve for most people who are involved in photography as artists.  It’s an essential part of basic photography that’s learned on the street and in traditional ways that people used to do photography.

Roger Ballen in Lines, Marks, and Drawings:  Through the Lens of Roger Ballen

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Pearls from artists* # 66

Barbara's studio

Barbara’s 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.

I craved honesty, yet found dishonesty in myself.  Why commit to art?  For self-realization, or for itself?  It seemed indulgent to add to the glut unless one offered illumination.

Often I’d sit and try to draw, but all the manic activity in the streets, coupled with the Vietnam War, made my efforts seem meaningless.  I could not identify with political movements.  In trying to join them I felt overwhelmed by yet another form of bureaucracy.  I wondered if anything I did mattered.

Robert [Mapplethorpe] had little patience with these introspective bouts of mine.  He never seemed to question his artistic drives, and by his example, I understood that what matters is the work:  the string of words propelled by God becoming a poem, the weave of color and graphite scrawled upon the sheet that magnifies His motion.  To achieve within the work a perfect balance of faith and execution.  From this state of mind comes a light, life-charged.

Patti Smith in Just Kids

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