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Q: Can you tell us about the different series of work you have created and what they embody?

Barbara’s studio with work in progress

Barbara’s studio with work in progress

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.” 

Comments are welcome!

 

Q: What’s on the easel today?

Work in progress

Work in progress

A:  “Poseur,” Soft Pastel on Sandpaper, 58’ x 38” is awaiting finishing touches…  at last!

Comments are welcome!

Pearls from artists* # 349

Ahmedabad, India

Ahmedabad, India

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

India presents to the visitor an overwhelmingly visual impression.  It is beautiful, colorful, sensuous.  It is captivating and intriguing, repugnant and puzzling.  It combines the intimacy and familiarity of English four o’clock tea with the dazzling foreignness of carpisoned elephants or vast crowds bathing in the Ganga during an eclipse.  India’s display of multi-armed images, it’s processions and pilgrimages, it’s beggars and kings, it’s street life and markets, it’s diversity of peoples – all appear to the eye in a kaleidoscope of images.  Much that is removed from public view in the modern West and taken into the privacy of rest homes, asylums, and institutions is open and visible in the life of an Indian city or village.  The elderly, the infirm, the dead awaiting cremation – these sights, while they may have been expunged from the childhood palace of the Buddha, are not isolated from the public eye in India.  Rather, they are present daily in the visible world in which Hindus, and those who visit India, move in the course of ordinary activities. In India, one sees everything.  One sees people at work and at prayer; one sees plump, well-endowed merchants, simple renouncers, fraudulent “holy” men, frail widows, and emaciated lepers; one sees the festival procession, the marriage procession, and the funeral procession.  Whatever Hindus affirm of the meaning of life, death, and suffering, they affirm with their eyes wide open.

Diana L. Eck in Darsan:  Seeing the Diving Image in India

Comments are welcome!

 

Q: What’s on the easel today?

Work in progress

Work in progress

A:  “White Star,” soft pastel on sandpaper, 38″ x 58,” is awaiting its finishing touches.  

Comments are welcome!

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