Blog Archives
Q: Contemporary art has become very diverse and multidisciplinary in the last few decades. Do you welcome this trend? Is this trend part of your art practice? (Question from artamour)
A: By definition trends in art come and go and I don’t see how any self-respecting artist can or should pay much attention to them. I continue to do my own thing, refining my soft pastel techniques, following wherever my interests, inspiration, and subject matter lead, all the while striving to become a better artist.
Comments are welcome!
Pearls from artists* # 484
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
[Walter] Murch: We hope we become better editors with experience! Yet you have to have an intuition about the craft to begin with: for me, it begins with, Where is the audience looking? What are they thinking? As much as possible, you try to be the audience. At the point of transition from one shot to another, you have to be pretty sure where the audience’s eye is looking, where the focus of attention is. That will either make the cut work or not.
[Michael] Ondaatje: So before you make the cut, if you feel the audience is looking towards point X, then you cut to another angle where the focus of attention is somewhere around that point X.
The Conversation: Walter Murch and the Art of Editing Film by Michael Ondaatje
This passage in Ondaatje’s book resonates because I work similarly to refine and construct each pastel painting. My goal is to move the viewer’s eye around in an engaging and interesting way. This part of my process is subtle so I suspect that most of my audience neither appreciates nor even suspects that I have done it.
Comments are welcome!
Q: When did you start using the sandpaper technique and why (Question from “Arte Realizzata”)
A: In the late 1980s when I was studying at the Art League School in Alexandria, VA, I enrolled in a three-day pastel workshop with Albert Handel, an artist known for his southwest landscapes in pastel and oil paint. I had just begun working with soft pastel and was experimenting with paper. Handel suggested I try Ersta fine sandpaper. I did and nearly three decades later, I’ve never used anything else.
This paper is acid-free and accepts dry media, mainly pastel and charcoal. It allows me to build up layer upon layer of pigment and blend, without having to use a fixative. The tooth of the paper almost never gets filled up so it continues to hold pastel. (On the rare occasion when the tooth DOES fill up, which sometimes happens with problem areas that are difficult to resolve, I take a bristle paintbrush, dust off the unwanted pigment, and start again). My entire technique – slowly applying soft pastel, blending and creating new colors directly on the paper, making countless corrections and adjustments, rendering minute details, looking for the best and/or most vivid colors – evolved in conjunction with this paper.
I used to say that if Ersta ever went out of business and stopped making sandpaper, my artist days would be over. Thankfully, when that DID happen, UArt began making a very similar paper. I buy it in two sizes – 22″ x 28″ sheets and 56″ wide by 10-yard-long rolls. The newer version of the rolled paper is actually better than the old, because when I unroll it, it lays flat immediately. With Ersta I would lay the paper out on the floor for weeks before the curl would give way and it was flat enough to work on.
Comments are welcome!
Pearls from artists* # 462
*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 seems contradictory to call an artist both shy and conceited, introverted and extraverted, empathic and self-centered, highly independent and hungry for community – until we realize that all of these qualities can be dynamically present in one and the same person.
Indeed, this dynamism regularly perplexes and buffets the artist. He may begin to consider himself crazy for longing to perform even though public performance frightens him, or neurotic for feeling competent at the piano but incompetent in the world. He may come to possess the vain hope that he can live quietly, like other people, his personality statically integrated in some fashion, and then feel like a failure when the contradictory forces at play in him prevent him from feeling relaxed even for a minute. Once he realizes, however, that this puzzling contradiction is his personality, he is better able to accept himslef and to understand his motives and actions.
Eric Maisel in “A Life in the Arts: Practical Guidance and Inspiration for Creative and Performing Artists”
Comments are welcome!
Q: How do you work and approach your subject? (Question from “Arts Illustrated”)
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!
Pearls from artists* # 442
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Alexander Pope identified a central function of poetry as taking thoughts we experience as half-formed and giving them clear expression: ‘what was often thought, but ne’er so well expressed.’ In other words, a fugitive part of our own experience, is taken up, edited, and returned to us better than it was before, so that we feel, at last, that we know ourselves more clearly.
Alain de Botton and John Armstrong in Art as Therapy
Comments are welcome!
Q: What inspires you?
A: I love to travel and the more remote the destination the better! My current pastel painting series is based on a 2017 trip to Bolivia that continues to inspire me. More info about this work is at https://barbararachko.art/en/paintings/bolivianos
Also, I find the medium of soft pastel to be more fascinating now than ever. There is still so much to learn as I challenge myself to do more with it and to become a better artist.
Comments are welcome!
Pearls from artists* # 411
On top of an unexcavated pyramid, Veracruz, Mexico
*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 reasserts that U.S. artists have learned and borrowed from Mexican traditions and, above all, that people of goodwill in both countries share in the belief that art unites, it doesn’t divide; it can be utilized to attack inequity and exploitation of the past and present but it also expresses hope and yearning for a better existence than can be realized in the present.
Vida Americana: Mexican Muralists Remake American Art, 1925 – 1945, edited by Barbara Haskell
Comments are welcome!
Q: What’s on the easel today?
Work in progress
A: I’m slowly working on a small, 20” x 26,” pastel painting. The tentative title is “Majordomo,” although I’m searching for something better.
Comments are welcome!
Pearls from artists* # 371
“Poseur,” Soft Pastel on Sandpaper, 58” x 38” at the framer
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
If you look at the work of an artist over a lifetime there is always transformation. Some hit a lively pace early on and then seem to lose it later. Others find that place progressively throughout their life; others still find it late. But regardless, they are all learning to isolate the poetic within them. That focus on the poetic in our own work increases our appreciation of the beauty around us, increases our growth, and increases our divine connection.
One thing you see in many artists’ work is that as they continue over the decades to translate their experience of the poetic into form, they learn to communicate better. They strip away all the extraneous stuff and artistic baggage they had. They say more with less.
Ian Roberts in Creative Authenticity: 16 Principles to Clarify and Deepen Your Artistic Vision
Comments are welcome!
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