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Q: What’s on the easel today?

Work in progress

Work in progress

A:  I continue working on a large 58” x 38” pastel painting tentatively called, “Jokester.”

Comments are welcome!  

Q: What’s on the easel today?

Work in progress

Work in progress

A:  Progress is slower than usual during the current pandemic lockdown.  I continue working on “Trickster,” soft pastel on sandpaper, 26” x 20.”

Comments are welcome!

Pearls from artists* # 400

In the studio with friends

In the studio with friends

* 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 student in the audience raised her hand and asked me:

“Why should I live?”

… In the very act of asking that question, you are seeking reasons for your convictions, and so you are committed to reason as the means to discover and justify what is important to you.  And there are so many reasons to live!

As a sentient being, you have the potential to flourish.  You can refine your faculty of reason itself by learning and debating.  You can seek explanations of the natural world through science, and insight into the human condition through the arts and humanities.  You can make the most of your capacity for pleasure and satisfaction, which allowed your ancestors to thrive and thereby allowed you to exist.  You can appreciate the beauty and the richness of the natural and cultural world.  As the heir to billions of years of life perpetuating itself, you can perpetuate life in turn.  You have been endowed with a sense of sympathy – the ability to like , love, respect, help, and show kindness – and you can enjoy the gift of mutual benevolence with friends, family, and colleagues.

And because reason tells you that none of this is particular to you, you have the responsibility to provide to others what you expect for yourself.  You can foster the welfare of other sentient beings by enhancing life, health, knowledge, freedom, abundance, safety, beauty, and peace.  History shows that when we sympathize with others and apply our ingenuity to improving the human condition, we can make progress in doing so, and you can help to continue that progress.

Stephen Pinker in Enlightenment Now:  The Case for Reason, Science, Humanism, and Progress 

Comments are welcome!

Q: What advice would you give to up and coming artists, as well as experienced artists, who want to reach the level of publicity and notoriety that you have achieved?

On my studio wall

On my studio wall

A:  I have several pieces of advice:

Build a support network among your fellow artists, teachers, and friends.  It is tough to be an artist, period.  Be sure to read plenty of books by and about artists.  You will learn that all have experienced similar challenges.

Do whatever you must to keep working – no matter what!  Being an artist never gets easier.  There are always new obstacles and you will discover solutions over time.

When I left the active duty Navy in 1989, my co-workers threw a farewell party.  One of the parting gifts I received was a small plaque from a young enlisted woman whom I had supervised.  The words on the plaque deeply resonated with me, since I was about to make a significant and risky career change.  It was the perfect gift for someone facing the uncertainty of an art career. 

Many years later the plaque is still a proud possession of mine.  It hangs on the wall behind my easel, to be read every day as I work.  It says:

“Excellence can be attained if you…

Care more than others think is wise…

Risk more than others think is safe…

Dream more than others think is practical…

Expect more than others think is possible.”

I continue to live by these wise words.

Comments are welcome!

Pearls from artists* # 372

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.

Artists will, in their long education of sifting through what they like and respond to and what they don’t, find they “see” an artist’s work in the environment.  They see a Corot or a Hopper.  They know then that they have found a good subject because of the similarity of poetic attraction.  They see with a set of limits or conventions that speak to them.

But as time goes on and you continue working, you find you do not consider those subjects any longer but they still register.  They belong to someone else.  You have found other affinities.  Or perhaps more importantly you have found your own.  You respond now to your own internal song.  Art is about art as much as it is about nature.  Everything we respond to has passed through our filter of artistic influences.

Ian Roberts in Creative Authenticity:  16 Principles to Clarify and Deepen Your Artistic Vision

Comments are welcome!

Pearls from artists* # 371

 

“Poseur,” Soft Pastel on Sandpaper, 58” x 38” at the framer

“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!

Pearls from artists* # 364

"White Star," soft pastel on sandpaper, 38" x 58"

“White Star,” soft pastel on sandpaper, 38″ x 58″

* 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 we are left unmoved by a painting of the Virgin, it is likely because the artist was unmoved in the painting of her.  The subject matter is mostly irrelevant; it is important only as a vehicle for the artist’s attention.  Authenticity comes from how deeply the artist felt.  And this is the key to how much silence, how much consciousness or attention, the art contains.

subject matter, if the artist is even using it, is just an armature for the artist to engage his intensity of feeling.  It is the quality of your attention that influences how you see and how deeply you feel.  Different artists have affinities for different subject matter as a way into expressing themselves deeply.  And that depth is the quality, we, the viewers, respond to.  It is what we continue to respond to over the centuries in great works of art.  The fact that things last, that we continue to admire them, is in the end a good indicator of their quality, of their silence.  Art museums therefore, have little nodes of silence nestling in their galleries.  They are filled with, to use André Malraux’s expression, “the voices of silence.”

Ian Roberts in Creative Authenticity:  16 Principles to Clarify and Deepen Your Artistic Vision

Comments are welcome!

Q: During one of the most gripping times of your life, you were personally affected by the 9/11 attack on our country. Your husband was killed on the plane that crashed into the Pentagon. Would you mind telling us about it and how it has shaped your work?

‘Mi Teleferico’ line, La Paz, Bolivia

‘Mi Teleferico’ line, La Paz, Bolivia

A:  In the summer of 2002 I was ready to – I HAD to – get back to work in my studio. I knew exactly what I must do.  More than ever before, learning and painting would become the avenues to my well-being.

Because I use reference photos for my pastel paintings, the first challenge was to learn how to use Bryan’s 4 x 5 view camera. At that time I was not a photographer. Bryan had always taken reference photos for me.

In July 2002 I enrolled in a view camera workshop at New York’s International Center of Photography. Much to my surprise I had already absorbed quite a lot from watching Bryan. After the initial workshop, I continued more formal studies of photography for several years. In 2009, I am proud to say, I was invited to present a solo photography exhibition at a New York gallery!

In 2003 I resumed making my Domestic Threats series of pastel paintings, something that had seemed impossible after Bryan’s death. The first large pastel painting that I created using a reference photograph taken by me confirmed that my life’s work could continue. The title of that painting, “She Embraced It and Grew Stronger,” was autobiographical. “She” is me, and “it” meant continuing on without Bryan and living life for both of us.

Having had a long successful run, the Domestic Threats series finally ended in early 2007. Around that time I was feeling happier and had come to better terms with losing Bryan. While this is a tragedy I will never truly be at peace with, dealing with the loss became easier with time.

Then in 2007 I suddenly became blocked and did not know where to take my work next. I had never experienced creative block and especially for a full-time professional artist, this was a painful time. Still, I continued to go to the studio every day and eventually, thanks to a confluence of favorable circumstances, the block ended.

My next pastel painting series was called Black Paintings. I viewed the black background as literally, the very dark place that I was emerging from, exactly like the figures emerging in these paintings. The figures themselves were wildly colorful and full of life, but that black background – one critic has dubbed it my “blackground” – is always there.

Still the work continues to evolve. In 2017 I began my third pastel painting series called Bolivianos, based on a mask exhibition encountered in La Paz at the The National Museum of Ethnography and Folklore. Many people have proclaimed this to be my most bold, daring, and exciting pastel painting series yet. And I think they may be right! Continuing on the journey I began 30+ years ago, I am looking forward to creating many new, striking pastel paintings!

Comments are welcome!

 

Q: What’s on the easel today?

Work in progress

Work in progress

A:  I continue slowly working on a small, 26” x 20,” untitled pastel painting.

Comments are welcome!

Q: How many studios have you had since you’ve been a professional artist?

Barbara's studio

Barbara’s studio

A: I am on my third, and probably last, studio.  I say ‘probably’ because I love my space and have no desire to move.  Plus, it would be a tremendous amount of work to relocate, considering that I have been in my West 29th Street studio since 1997. 

My very first studio, in the late 1980s, was the spare bedroom of my house in Alexandria, Virginia.  I set up a studio there while I was on active duty in the Navy.  When I resigned my commission, I was required to give the President an entire year’s advance notice.  Towards the end of that year I remember calling in sick so I could stay home and make art.       

In the early 1990s I rented a studio on the third floor of the Torpedo Factory in Alexandria.  For a while I enjoyed working there, but the constant interruptions – in an art center that is open to the public – became tiresome.  

In 1997 I had the opportunity to move to New York.  I desperately craved solitary hours to work in peace, without interruption, so at first I didn’t have a telephone.  I still don’t have WiFi there because my studio is reserved strictly for creative work.

Moving from Virginia to New York in 1997 was relatively easy.  My aunt, who planned to be in California to continue her Buddhist studies, offered me her rent-controlled sixth-floor walkup on West 13th Street.  I looked at just one other studio before signing a sublease for my space at 208 West 29th Street.  I had heard about the vacancy through a college friend of my husband, Bryan.  Karen, the lease-holder, was relocating to northern California to work on “Star Wars” with George Lucas.  After several years, she decided not to return to New York and I have been the lease-holder ever since.  

Comments are welcome!

 

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