Blog Archives
Pearls from artists* # 722
Barbara attending Carnival in Oruro, Bolivia!
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on
One of the most insidious kinds of pressure to which an artist can succumb is the pressure to be accessible. Well-meaning advisors may tell you that x is acceptable, marketable, popular and wealthy. But if you alter your work to be more x-ish, people will spot it as inauthentic; it will not be heartfelt because it does not originate in your own being. By all means develop and revise your work to communicate more and more clearly; but if you alter one word in order to please some imagined market “out there,” the integrity and originality of everything you do is at risk. You get off the sure base of what you really know and are. Whereas if you create your own material in your own way, developing art work that is more and more authentically yours, people will spot it as genuine. In resisting the temptation to accessibility, you are creating a genuine space and living in it.
Stephen Nachmanovitch in Free Play: Improvisation in Life and Art
Comments are welcome!
Q: What’s on the easel today?
Charcoal drawing
A: This preliminary charcoal drawing is my first tentative move towards the next “Bolivianos” pastel painting. I took the reference photo in February during my Bolivia trip to research and experience Carnival in Oruro.
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Q: What have been the defining wounds of your life—and how have you healed them? (Question from Bold Journey)
A: The deepest wound was losing Bryan on 9/11. I resolved not to become another victim of that tragedy and chose to continue living and making art.
Because I depend on reference photographs for my work, my first hurdle was learning to use Bryan’s 4×5 view camera. He had always taken the photos for me. In 2002, I enrolled in a photography workshop at the International Center of Photography in New York. To my surprise, I had absorbed a lot just from watching him, and I went on to formally study photography for several years. In 2009, I was invited to present a solo photography exhibition in New York.
By 2003, I resumed my Domestic Threats series. The first large pastel I completed from one of my own photographs was titled She Embraced It and Grew Stronger. It was autobiographical: “she” was me, and “it” was life without Bryan.
That series ended in 2007, by which time I was finding more peace. But then I faced a new challenge: creative block. For months I struggled, but I kept showing up daily. Eventually, a breakthrough came, and I began the Black Paintings series. The dark backgrounds represented the place I had emerged from; the vibrant figures symbolized resilience and life.
In 2017, inspired by a museum exhibition in La Paz, I began Bolivianos, based on Carnival masks. Many view this as my boldest and most exciting work yet.
Comments are welcome!
Q: Please introduce yourself and tell us what makes your work unique. (Question from Bold Journey)
With a Giacometti at Fondation Maeght, St. Paul de Vence, France; Photo: Christine Marchal
A: I am a contemporary painter based in New York City, best known for large pastel-on-sandpaper paintings inspired by Bolivian Carnival masks and Latin American folk art. For more than 40 years, I have been committed to elevating pastel as a fine art medium.
My blog, Barbara Rachko’s Colored Dust, has 229,000 subscribers, and I’m the subject of the documentary Barbara Rachko: True Grit, available on YouTube. My e-book, From Pilot to Painter, tells my story of moving from Navy Commander, commercial pilot, and Boeing-727 Flight Engineer to professional artist.
My work has been developed into three major series—Domestic Threats, Black Paintings, and Bolivianos. In 2023, I was featured in a documentary that premiered at the Newport Beach Film Festival, winning both the Audience Award and Best in Category.
Comments are welcome!
Q: You take 3-4 months to complete one artwork. How do you plan a series such as Bolivianos over a year’s timeline and over the years? (Question from Vedica Art Studios and Gallery)
A: Bolivianos is my third series, and like the previous two, it naturally evolves from one painting to the next. There wasn’t a long-term plan involved, and I doubt such detailed planning would even be practical. Many artists likely work this way—finishing one project and then beginning another. As with Bolivianos, I typically have ideas for the next two or three paintings, but little concept beyond that.
The main impetus for Bolivianos was to continue work I began in the early 1990s. During a visit to La Paz, I captured a series of stunning photographs, inspiring me to translate them into a major pastel series. Each painting leads to ideas about the next, guiding the entire series’ evolution and shaping my understanding of its meaning. Both the series and my insights deepen as I engage further with the subject matter. The Bolivian Carnival masks I photographed provided the starting point for a long and continuing intellectual journey.
Comments are welcome!
Q: Would you please share your current bio?
A: Here it is.
Barbara Rachko, born in 1953 in Paterson, New Jersey, is a contemporary painter based in New York City, renowned for her large pastel-on-sandpaper paintings inspired by Bolivian Carnival masks. With nearly 40 years dedicated to revolutionizing pastel as a fine art medium, Rachko’s influential blog, Barbara Rachko’s Colored Dust, has garnered over 229,000 subscribers. She is the subject of the acclaimed documentary “Barbara Rachko: True Grit,” available on YouTube, and her ebook “From Pilot to Painter” captures her inspiring journey from a former pilot to an accomplished artist.
Rachko’s work explores the vibrant cultural heritage of Bolivian Carnival masks, and Mexican and Guatemalan folk art. Her meticulous attention to detail is showcased in notable series such as Bolivianos, Black Paintings, and Domestic Threats. In 2023, she was featured in a documentary that premiered at the Newport Beach Film Festival, earning the Audience Award and Best in Category Award, further cementing her impact on contemporary art.
Her solo exhibitions include the Joy Pratt Markham Gallery at Walton Arts Center (AR), Louise Jones Brown Gallery at Duke University (NC), Olin Gallery (VA), and La MaMa La Galleria (NY). She trained in photography at the International Center of Photography in New York and studied drawing and pastel techniques at the Art League School in Alexandria, VA. Her works are held in private collections worldwide and have been showcased at prestigious art fairs, including Art Basel Miami, Moon Art Fair in Hamburg, and Art Busan in Korea, affirming her global influence in pastel painting.
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Q: Do you have any big projects coming up?
A: I certainly do! I have been a painter for forty years, and for most of that time, my work has been shaped by foreign travel. At seventy-two, I find myself thinking about legacy — what I want to leave behind. Documenting my creative process on film has become an essential part of this objective.
In the “Bolivianos” series, I have been creating pastel-on-sandpaper paintings that transform the vivid masks of the Bolivian Carnival into universal archetypes. I first encountered these masks at a museum in La Paz in 2017.
Circumstances have aligned perfectly for an exciting next step: another trip to Bolivia and a new documentary. Our upcoming film will be a follow-up to the award-winning “Barbara Rachko: True Grit” (released in 2023), marking a deeper exploration of my thirty-five-year engagement with folk art from Mexico, Central America, and South America.
(See https://youtu.be/JJWLy84kXI0?si=v7JHIq9ViYGgs76U)
In February 2026, I will return to Bolivia with a two-person film crew to experience Carnival firsthand — to immerse myself in its rhythm, history, and meaning. Recognized by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity, this festival offers an extraordinary window into Bolivia’s cultural soul.
Our film will chronicle my journey as essential research — a vital continuation of my creative inquiry over these past decades. With this trip and film, I hope to create my next body of pastel-on-sandpaper paintings, rich with color, spirit, and the enduring vitality of Oruro’s Carnival.
Comments are welcome!
Q: What lies in the future for you? (Question from “Cultured Focus Magazine”)
A: I still have so much to say and share through my work! First, I want to continue creating and adding to the “Boliviano” series of pastel paintings that I began in 2017.
Second, Jennifer Cox, my director, and I are considering making part II of our film, “Barbara Rachko: True Grit,” which will require a return trip to Bolivia – to the Museum of Ethnography and Folklore in La Paz, where I first encountered the masks that are my current subject matter, and to Oruro to see similar masks in action during Carnival celebrations. This will be a complex undertaking and the issue of financing will first need to be resolved. Stay tuned!
Comments are welcome!
Q: How large is your collection of Mexican folk art objects?
Part of my collection
A: I began collecting these figures in the early 1990s. I haven’t counted them, but my guess is that I have amassed around 200 pieces of various sizes. This includes some Guatemalan figures. I went to Guatemala in 2009 and 2010. Since I divide my time between a house in Alexandria, VA, an apartment in Manhattan, and a studio in Chelsea, a portion of my folk art collection resides in each of these places.
Since 2017 I have been creating pastel paintings in the “Bolivianos” series, which exclusively use my photographs of Bolivian Carnival masks as source material. Occasionally, I will add one of my smaller Mexican or Guatemalan figures to improve and enrich a painting’s composition. Otherwise, my Mexican collection sits gathering dust. My thinking and my ideas, not to mention my travels, have evolved and just naturally moved on with time.
Comments are welcome!
Q: Would you share a bit more about yourself? (Question from “Bold Journey”)
A: I am an American contemporary Master Pastel Artist who divides my time between residences in New York City and Alexandria, VA. I am best known for my pastel-on-sandpaper paintings, my eBook, “From Pilot to Painter,” and my popular blog, “Barbara Rachko’s Colored Dust,” which currently has more than 125,000 subscribers. I am proud to be represented by Apricus Art Collection (US), Art Client Services (US), Galleria Balmain (UK), Emillions (US), Interstellar (IN), and Galleri SoHo (SE). I am a member of the International Association of Visual artists.
I travel regularly to Mexico, Central America, South America, and Asia. Since 2017 I have been creating “Bolivianos,” a painting series based on an exhibition of Carnival masks I photographed at the Museum of Ethnography and Folklore in La Paz.
My life has been called “extraordinary and inspiring.” I learned to fly when I was 25 and became a Commercial Pilot and Boeing-727 Flight Engineer before joining the Navy. As a Naval Officer I spent many years working at the Pentagon and retired as a Commander. On 9/11 my husband Dr. Bryan Jack was killed onboard the plane that crashed into the Pentagon. Ever since that awful day, I have worked hard to overcome my husband’s tragic loss. Now I enjoy a thriving career as an internationally-known professional artist.
Comments are welcome!
