Blog Archives
Q: Can you briefly explain how the Bolivian Carnival masks you depict in your work are used?
A: The masks depict important figures from Bolivian folklore traditions and are used in Carnival celebrations in the town of Oruro. Carnival occurs every year in late February or early March. I had hoped to visit again this year, but political instability in Bolivia made a trip too risky.
Carnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” music and dance style from the Bolivian Andes was possibly inspired by the suffering of African slaves brought to work in the silver mines of Potosi. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. Lucifer was disguised in seven different masks derived from medieval Christian symbols aor totemic animals that became nd mostly devoid of pre-Columbian elements (except that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.
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Q: Can you tell us about the different series of work you have created and what they embody?
A: The Black Paintings series of pastel-on-sandpaper paintings grew directly from an earlier series, Domestic Threats. While both use cultural objects as surrogates for human beings acting in mysterious, highly-charged narratives, in the Black Paintings I replaced all background details of my actual setup (furniture, rugs, etc.) with lush black pastel. In this work the ‘actors’ are front and center.
While traveling in Bolivia two years ago, I visited a mask exhibition at the National Museum of Ethnography and Folklore in La Paz. The masks were presented against black walls, spot-lit, and looked eerily like 3D versions of my Black Paintings. I immediately knew I had stumbled upon a gift. So far I have completed nine pastel paintings in the Bolivianos series. One is awaiting finishing touches, one is in progress now, and I am planning the next one.
All of my pastel paintings are an example of a style called “contemporary conceptual realism” in which things are not quite as innocent as they seem. In this sense each painting is a kind of Trojan horse. There is plenty of backstory to my images, although I usually prefer not to over-explain them. Some mystery must always remain in art.
The world I depict is that of the imagination and this realm owes little debt to the natural world. I recently gave an art talk where I was reminded how fascinating it is to learn how others respond to my work. As New York art critic Gerrit Henry once remarked, “What we bring to a Rachko… we get back, bountifully.”
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Pearls from artists* # 164
* 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 Eastern and Western classics are full of gods, saints, and heroes, all striving against life’s odds and overcoming them with perseverance, courage, energy and hope as well as help from some sort of divine energy. Unlike the gods, the saints, gurus, and heroes are humanized in creative works. Otherwise, we would find it difficult to accept them, relate to them or look up to them for inspiration and courage. It is the humanization of the subject that makes the supernatural sometimes feel real. And sometimes makes the impossible seem reachable and achievable. The classic writings all contain humanized heroes, saints and gods. The characters in these books are so humanized that the courage and inspiration we get from their endurance in overcoming life’s challenges will keep on inspiring readers forever. Because of this we can aspire to their accomplishments. If we too are able to create meaningful works providing timeless inspiration to help others, our work will live on.
Samuel Odoquei in Origin of Inspiration: Seven Short Essays for Creative People
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Q: How do you store your pastel paintings?
A: Well, I wish I could say that every pastel painting has sold as soon as it was completed, but that is a rarity that has only happened twice. As soon as possible after I finish a painting, I bring it to the framer. Pastel paintings are susceptible to smudging and other odd dangers (even a sneeze!) until they are under Plexiglas.
Framed work can easily and safely be stored by hanging it on a wall in my studio or standing it upright and face up, and leaning against a wall. When I put paintings in my storage closet for the longer term, I wrap them in bubble wrap.
The downside of having to frame everything is that it is a considerable expense. However, the upside is that I am always ready for a solo exhibition. Gallerists have called at the last minute when one of their exhibitions ran into unexpected problems. Usually, I am able to step right in.
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Pearls from artists* # 99
* 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 think there are two very interesting stages in creative work. One is confusion and one is boredom. They generally both mean that there’s a big fish swimming under the water. As Rilke said, “Live the questions.” And not judge that there’s something wrong about confusion, because the people who are working, say, on the cure for leprosy – they work for years and years in a state of confusion, and very often they don’t find the cure. They find something completely different. But they keep living the question. Confusion is absolutely essential to the creative process. If there was no confusion, why do it? I always feel that all of us have questions we’re asking all our lives, for our work, and if we ever found the answer, we’d stop working. We wouldn’t need to work anymore.
Boredom – if you’ve ever been in therapy, you’d know that when you start getting bored, that’s really important. The therapist sits up; there’s something going on, because the wall that you come against – that’s where the real gold is. It’s really precious.
Andre Gregory (from My Dinner with Andre) in Anne Bogart, Conversations with Anne: Twenty-four Interviews
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