Blog Archives

Q: How do you work and approach your subject? (Question from “Arts Illustrated”)

At work
At work

A: Undoubtedly, I could not make my work without UART sandpaper since my entire pastel technique evolved around it.  I use 400 0r 500 grit.  My favorite thing about it is its ‘tooth’ (i.e. texture or roughness).  

Over the many months I spend creating a pastel painting, I build layer upon layer of soft pastel.  Because the paper I use is relatively “toothy,” it accepts all of the pastel the painting needs.  And as many people know, I own and use thousands of soft pastels!

Many layers of soft pastel and several months of studio time go into creating each painting.  My self-invented technique is analogous to the glazing techniques used by the Old Masters, who slowly built up layers of thin oil paint to achieve a high degree of finish.  Colors were not only mixed physically, but optically.  

Similarly, I gradually build up layers of soft pastel, as many as thirty, to create a pastel painting.  After applying a color, 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 piece.  By the time a pastel painting is finished, the colors are bold, vibrant, and exciting.

From the beginning in the 1980s I used photographs as reference material and my late husband, 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 several 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.

My blog, “Barbara Rachko’s Colored Dust,” 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, I like to think, has helped me to become a better writer.

Comments are welcome!

Q: What kind of art do you create?

At work

At work

A:  I live in the West Village in New York City and have been a working artist for thirty-four 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. Please see https://barbararachko.art/en/

For the last three years I have been working on a series called, “Bolivianos,” based on an exhibition of Carnival masks seen in La Paz. Art critics and others have said that these are my strongest pastel paintings so far. As I write I am working on the fifteenth piece in the series.  

Comments are welcome!

Q: How many days a week do you work on your art?

Working on “Jokester”

At work

A:  My life is devoted to art and to art-making.  Working in pastel is slow and labor-intensive – in a good year I make four or five pastel paintings – so maintaining good work habits is imperative.  As a fulltime professional artist, I strive to  keep regular studio hours.  I work five days a week, roughly seven hours a day.

However, running the business side of things is an every day activity:  marketing, interviews, applying for exhibitions, making photographs, documenting my professional activities, sending JPEGs, responding to inquiries, etc.  There is always something to do!

Comments are welcome!   

Q: Can you give us your current elevator pitch?

Discussing Bolivian masks with Nika, Photo: David De Hannay

Discussing Bolivian masks with Nika, Photo: David De Hannay

A:  Here it is:

I am a New York visual artist, blogger, and author.  For thirty-four years I have been creating original pastel-on-sandpaper paintings that depict my large collection of Mexican and Guatemalan folk art – masks, carved wooden animals, papier mache figures, and toys.  “Bolivianos,” my current series, is based on a mask exhibition I saw and photographed in La Paz in 2017 at the National Museum of Folklore and Ethnography.     

My technique is self-invented and involves applying dozens of layers of soft pastel onto acid-free sandpaper to create new colors directly on the paper.  Each pastel painting takes several months to complete.  Typically, I make four or five each year.  I achieve extraordinarily rich, vibrant color in pastel paintings that are a unique combination of reality, fantasy, and autobiography.

My background is unusual for an artist.  I am a pilot, a retired Navy Commander, and a 9/11 widow.  Besides making art, I am a published blogger and author best known for my popular blog, “Barbara Rachko’s Colored Dust” (53,000+ subscribers!) and my eBook, “From Pilot to Painter,” on Amazon and iTunes.

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

Comments are welcome!  

Q: What is your favorite thing about creating on sandpaper? (Cassandra Alvarado Oliphant via Instagram)

Ready to start

Ready to start

A:  Undoubtedly, I could not make my work without UART sandpaper since my entire pastel technique evolved around it.   I use 400 and 500 grit.  My favorite thing about it is its ‘tooth’ (i.e. texture or roughness). 

Over the many months I spend creating a painting, I build layer upon layer of soft pastel.  Because this paper is relatively “toothy,” it accepts all of the pastel the painting needs.  And as many people know, I own and use thousands of soft pastels!  

Many layers of soft pastel and several months of studio time go into creating each painting.  My self-invented technique is analogous to the glazing techniques used by the Old Masters, who slowly built up layers of thin oil paint to achieve a high degree of finish.  Colors were not only mixed physically, but optically.  

Similarly, I gradually build up layers of soft pastel, as many as thirty, to create a pastel painting.  After applying a color, 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 piece.  By the time a pastel painting is finished, the colors are bold, vibrant, and exciting.

Comments are welcome!           

Q: Would you speak about the meaning of your work and the different materials you use?

About half of Barbara’s pastels

About half of Barbara’s pastels

A:  It is as difficult to explain the meaning of my art as it is to interpret the meaning of life!  I am invested in and concerned with process:  foreign travel, prodigious reading, devotion to craft, months of slow meticulous work in the studio trying to create an exciting work of art that has never been seen before, etc.  I love making pastel paintings!  Many years ago I challenged myself to push the limits of what soft pastel can achieve.  I am still doing so.

I leave it to others – viewers, arts writers, critics, art historians – to study my creative journey and talk about meanings.  I believe an artist is inspired to create and viewers ponder the creation.  I would not presume to tell anyone how to react to my work.

For many years I have been devoted to promoting soft pastel as a fine art medium.  There are excellent reasons it has been around for five hundred years!  It is the most permanent of media. There’s no liquid binder to cause oxidizing or cracking over time, as happens with oil paint.  Pastel colors are intense because they are close to being pure pigment.  Pastel allows direct application (no brushes) with no drying time and no color changes.

I use UArt acid-free sandpaper.  This is not sandpaper from a hardware store.  It is made for artists who work in pastel and allows me to build up layers of pigment without using a fixative.  My process – slowly applying and layering pastels, blending and mixing new colors directly on the paper, making countless adjustments, searching for the best and/or most vivid colors – continually evolves.  Each pastel painting takes months to create.

Comments are welcome!

Q: Do your materials have properties that allow you to maximize what you depict in your work?

Barbara’s studio

Barbara’s studio

A:  I work exclusively in soft pastel on sandpaper.  Pastel, which is pigment and a binder to hold it together, is as close to unadulterated pigment as an artist can get.  It allows for very saturated color, especially as I utilize the self-invented techniques developed and mastered over more than thirty years as an artist.  I believe my “science of color” to be unique, completely unlike how any other artist works.  I spend three or four months on each painting, applying pastel and blending the layers together to mix new colors directly on the paper.  

The sandpaper support allows the build up of 25 to 30 layers of pastel as I slowly and meticulously work for hundreds of hours to complete a painting.  The paper is extremely forgiving.  I can change my mind, correct, refine, etc. as much as I want until a painting is the best I can create at that moment in time.

Comments are welcome!

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