Blog Archives

Q: Would you share your current elevator pitch?

Barbara’s studio

Barbara’s studio

A:  Here it is:

I live in New York and have been a working artist for more than thirty 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.

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

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

Comments are welcome!  

Pearls from artists* # 276

The West Village

The West Village

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

 A long time later, after I  became a novelist, I realized that the ambiguities of the human mind are what give fiction and perhaps all art its power.  A good novel gets under our skin, provokes us and haunts us long after the first reading, because we never fully understand the characters.  We sweep through the narrative over and over again, searching for meaning.  Good characters must retain a certain mystery and unfathomable depth, even for the author.  Once we see to the bottom of their hearts, the novel is dead for us.

Eventually, I learned to appreciate both certainty and uncertainty.  Both are necessary in the world.  Both are part of being human.  

Alan Lightman in A Sense of the Mysterious:  Science and the Human Spirit

Comments are welcome!

Pearls from artists* # 204

Barbara's studio with work in progress

Barbara’s studio with work in progress

* 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 has been said that science helps us understand what we can do; the arts and humanities – our culture and values – help us decide what to do.  Studying the arts and humanities develops critical-thinking skills and nimble habits of mind, provides historical and cultural perspective and fosters the ability to analyze, synthesize and communicate.

As author Daniel Pink observed, “The last few decades have belonged to a certain kind of person with a certain kind of mind – computer programmers who could crank code, lawyers who could craft contracts, MBAs who could crunch numbers…  The future belongs to a very different kind of mind – creators and empathizers, pattern recognizers and meaning makers.  These people – artists, inventors, designers, storytellers, caregivers, consolers, big-picture thinkers – will now reap society’s richest rewards and share its greatest joys.”

David J. Skorton, Director of the Smithsonian Institution in “What Do We Value?” Museum, May/June 2016

Comments are welcome!

Pearls from artists* # 199

"Trio," soft pastel on sandpaper, 20" x 26"

“Trio,” soft pastel on sandpaper, 20″ x 26″

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

Writers, like all artists, are concerned to represent reality, to create a more absolute and complete reality than reality itself.  They must, if they are to accomplish this, assume a moral position, a clearly conceived political, social, and philosophical attitude; in consequence, their beliefs are, of course, going to find their way into their work.  What artists believe, however, is of secondary importance, ancillary to the work itself.  A writer survives in spite of his beliefs.  Lawrence will be read whatever one thinks of his notions on sex.  Dante is read in the Soviet Union.

A work of art, on the other hand, has a representative and expressive function.  In this representation the author’s ideas, his judgments, the author himself, are engaged with reality.   

Alberto Moravia in Writers at Work:  The Paris Review Interviews First Series, edited and with an introduction by Malcolm Cowley

Comments are welcome!

Pearls from artists* # 144

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.

Art and design are rule-based.  This flies in the face of everything that most people have been taught before, namely, that art and design are about freedom.  I remember reading a wonderful analogy about this concept many years ago in an out-of-print, early twentieth-century book on design.  The author asked us to imagine a flying kite – the quintessential emblem of unrestricted, spontaneity, soaring in the wind.  Keeping taught the line between you and the kite, however, is the source of that freedom.  Here’s another way of putting it:  “Creativity arises out of the tension between the rules and imagination.”

Leslie Hirst in The Art of Critical Making:  Rhode Island School of Design on Creative Practice, Rosanne Somerson and Mara L. Hermano, editors

Comments are welcome!    

Pearls from artists* # 48

"Big Deal," with double portrait of the author

“Big Deal,” with double portrait of the author

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

Until the invention of photography, the painted (or sculptural) portrait was the only means of recording and presenting the likeness of a person.  Photography took over this role from painting and at the same time raised our standards for judging how much an informative likeness should include.

This is not to say that photographs are in all ways superior to painted portraits.  They are more informative, more psychologically revealing, and in general more accurate.  But they are less tensely unified.  Unity in a work of art is achieved as a result of the limitations of the medium.  Every element has to be transformed in order to have its proper place within these limitations.  In photography the transformation is to a considerable extent mechanical.  In a painting each transformation is largely the result of a conscious decision by the artist.  Thus the unity of a painting is permeated by a far higher degree of intention.  The total effect of a painting (as distinct from its truthfulness) is less arbitrary than that of a photograph; its construction is more intensely socialized because it is dependent on a greater number of human decisions.  A photographic portrait may be more revealing and accurate about the likeness and character of the sitter; but it is likely to be less persuasive, less (in the very strict sense of the word) conclusive.  For example, if the portraitist’s intention is to flatter or idealize, he will be able to do so far more convincingly in a painting than with a photograph. 

Geoff Dyer, editor, Selected Essays:  John Berger

Comments are welcome!