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Pearls from artists* # 82

"The Sovereign," soft pastel on sandpaper, 58" x 38"

“The Sovereign,” soft pastel on sandpaper, 58″ x 38″

* 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 isn’t psychology.  For one thing art deals in images, not language.  Images precede language and are closer to feelings.  They summon feelings before they’re named and categorized, when they’re still fresh and sometimes hard to recognize or identify.

For another thing, to translate his vision an artist uses materials that are, for lack of a better word, alchemical.  Paint, for example, has this wonderful, mysterious quality –  a smell and a sensuous, velvety feel and an ability to hold color and light – that unlocks and speeds up one’s creative metabolism.  And paint captures my every impulse – from my broadest conceptions to the tiniest ticks and tremors of my wrist.

There are literally no words to describe what occurs when an image suddenly and unexpectedly appears on the canvas.  Sometimes it’s serendipity, the result of a fortunate brushstroke.  Sometimes I think it has to do with the inherent qualities of paint, or the slickness of a surface, or the fullness or acuity of a brush.  And sometimes when I’ve got a good rhythm going and everything comes together, I feel as though it produces the purest expression of who I am and what I am and how I perceive the world.   

Eric Fischl and Michael Stone in Bad Boy:  My Life on and off the Canvas

Comments are welcome!

Pearls from artists* # 81

"Poker Face," soft pastel on sandpaper, 38" x 58"

“Poker Face,” 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.

The creative process remains as baffling and unpredictable to me today as it did when I began my journey over forty years ago.  On the one hand, it seems entirely logical – insight building on insight; figures from my past, the culture, and everyday life sparking scenes and images on canvas; and all of it – subject, narrative, theme – working together with gesture, form, light to capture deeply felt experience.  But in real time the process is a blur, a state that precludes consciousness or any kind of rational thinking.  When I’m working well, I’m lost in the moment, painting quickly and intuitively, reacting to forms on the canvas, allowing their meaning to reveal itself to me.  In every painting I make I’m looking for some kind of revelation, something I didn’t see before.  If it surprises me, hopefully it will surprise the viewer, too.

Eric Fischl and Michael Stone in Bad Boy:  My Life On and Off the Canvas

Comments are welcome! 

Q: I just got home from my first painting experience… three hours and I am exhausted! Yet you, Barbara, build up as many as 30 layers of pastel, concentrate on such intricate detail, and work on a single painting for months. How do you do it?

Barbara's studio

Barbara’s studio

A:  The short answer is that I absolutely love making art in my studio and on the best days I barely even notice time going by!  

Admittedly, it’s a hard road.  Pursuing life as an artist takes a very special and rare sort of person.  Talent and having innate gifts are a given, merely the starting point.  We must possess a whole cluster of characteristics and be unwavering in displaying them.  We are passionate, hard-working, smart, devoted, sensitive, self-starting, creative, hard-headed, resilient, curious, persistent, disciplined, stubborn, inner-directed, tireless, strong, and on and on.  Into the mix add these facts.  We need to be good business people. Even if we are, we are unlikely to make much money.  We are not respected as a profession.  People often misunderstand us:  at best they ignore us, at worst they insult our work and us, saying we are lazy, crazy, and more.

The odds are stacked against any one individual having the necessary skills and stamina to withstand it all.  So many artists give up, deciding it’s too tough and just not worth it, and who can blame them?  This is why I believe artists who persevere over a lifetime are true heroes.  It’s why I do all I can to help my peers.  Ours is an extremely difficult life – it’s impossible to overstate this – and each of us finds our own intrinsic rewards in the work itself.  Otherwise there is no reason to stick with it.  Art is a calling and for those of us who are called, the work is paramount.  We build our lives around the work until all else becomes secondary and falls away.  We are in this for the duration.

In my younger days everything I tried in the way of a career eventually became boring. Now with nearly thirty years behind me as a working artist, I can still say, “I am never bored in the studio!”  It’s difficult to put into words why this is true, but I know that I would not want to spend my time on this earth doing anything else.  How very fortunate that I do not have to do so!

Comments are welcome!

Pearls from artists* # 78

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.

To me, openings are never what you want them to be.  The excitement, relief, anxiety, and anticipation are too much to process.  There’s no apotheosis, no pinnacle, no turning point.  It’s not like theater, where at the end of a performance people get up and applaud.

Nothing gets created at an opening.  Nothing of artistic merit takes place.  All of that important stuff happens in the studio, long before the exhibition, when you’re alone.  For me, anyway, openings are something to get through, an ordeal to be endured.  The bigger the event, the less I remember it.  I pretty much walk in, and wherever I stop is where I stay.  I paint a grin on my face so fixed that by the end of the evening my jaw is sore.  I remember none of the conversations.  I stand there shaking hands, blindly mouthing, “Thank you.  Thank you very much.”  Then eventually April [Gornick, Fischl’s wife] collects me and we leave.

If, on the other hand, you were to ask me what I remember about making the paintings in a show, that’s a different story.  Imagine touching something, stroking it, jostling it, caressing it, and as you’re doing this, you are creating it.  How you touched it is how it came into existence.  Unlike other pleasures, where the feelings fade quickly as details become blurred, with paintings you remember everything.  Within the details are all the bumps and the friction, the memory of when the creative instinct flowed, when you were distracted or lazy or working too hard.  It’s all there on the canvas.  When I look at my paintings again, years later, even, I remember it all – the victory laps and the scars.

Eric Fischl and Michael Stone in Bad Boy:  My Life On and Off the Canvas  

Comments  are welcome! 

Pearls from artists* # 77

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.

Current possibilities far exceed any single artist’s capacity to engage them.  Indeed, every known way of making art ever undertaken in all of history is included in today’s inventory of creative options.  Thus, choices must be made.  This has had a profound effect upon the quantity and diversity of skills needed to become an artist today.  In addition to such conventional forms of artistic talent as visual acuity, manual dexterity, sensitivity, intelligence, ingenuity, and perseverance, contemporary artists must also be able to make judicious choices from a limitless inventory of alternatives.  A decisive aspect of the creative act involves choosing a place  amid possibilities that are as bountiful as they are eclectic and chaotic.  Even this process entail choices.  In staking the territory they wish to occupy, artists may be gluttons or ascetics, connoisseurs or  commoners.  Relationships between artists and their career choices may be lifelong and monogamous, or sequentially monogamous, polygamous, or promiscuous.  But artists’ options even exceed selecting precedents.  Free access to the past is amplified by freedom to augment the catalogue of creative options by contributing something new.

In the Making:  Creative Options for Contemporary Art by Linda Weintraub

Comments are welcome!  

New eBook!

Cover

Cover

I am pleased to announce that my first eBook, FROM PILOT TO PAINTER, is available now on Amazon!

It is based on my blog and is part memoir, including my personal loss on 9/11, insights into my creative practice, and intimate reflections on what it’s like to be an artist living in New York City now.

The eBook includes new material not  found on the blog:  25+ reproductions of my vibrant pastel-on-sandpaper paintings, a Foreword by Ann Landi (who writes for ARTnews and The Wall Street Journal), and more.

Thank you for your support!

http://www.amazon.com/From-Pilot-Painter-Interview-Barbara-ebook/dp/B00HNVR200/ref=sr_1_1?ie=UTF8&qid=1389292390&sr=8-1&keywords=barbara+rachko

Note:  If you do not own a Kindle, you can download a free Kindle app.

Here is the one for MACs:

http://www.amazon.com/gp/feature.html?docId=1000464931 

Here is a link for the rest: 

Kindle Cloud Reader – Read instantly in your browser

Smartphones – iPhone & iPod touch, Android, Windows Phone,  BlackBerry

Computers – Mac, Windows 8, Windows 7, XP & Vista

Tablets – iPad, Android Tablet, Windows 8

http://www.amazon.com/gp/feature.html/ref=sv_kstore_3?ie=UTF8&docId=1000493771

Comments are welcome!

Pearls from artists* # 73

Sri Lanka

Sri Lanka

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

The primary tool in a creative process is interest.  To be true to one’s interest, to pursue it successfully, one’s body is the best barometer.  The heart races.  The pulse soars.  Interest can be your guide.  It always points you in the right direction.  It defines the quality, energy, and content of your work.  You cannot feign or fake interest or choose to be interested in something because it is prescribed.  It is never prescribed.  It is discovered.  When you sense this quickening you must act immediately.  You must follow that interest and hold on tight. 

Anne Bogart in A Director Prepares:  Seven Essays on Art and Theater 

Comments are welcome!

Q: Can you speak about what draws you to the Mexican and Guatemalan figures that you collect?

Shop in Panajachel, Guatemala, Photo:  Donna Tang

Shop in Panajachel, Guatemala, Photo: Donna Tang

A:  I search the markets and bazaars of Mexico, Guatemala, and elsewhere for folk art objects – masks, carved wooden animals, papier mache figures, children’s toys – to bring back to New York to paint and photograph. Color is very important – the brighter and the more eye-catching the patterns are on these objects the better – plus they must be unique and have lots of personality. I try not to buy anything mass-produced or obviously made for the tourist trade. The objects must have been used or otherwise look like they’ve had a life (i.e., been part of religious festivities) to draw my attention. How and where each one comes into my possession is an important part of my creative process.

Finding, buying, and getting them back to the U.S. is always circuitous, but that, too, is part of the process, an adventure, and often a good story. Here’s an example. In 2009 I was in a small town on the shores of Lake Atitlan in Guatemala, called Panajachel. After returning from a boat ride across the lake, my friends and I were walking back to our hotel when we discovered a wonderful mask store. I spent some time looking around, made my selections, and was ready to buy five exquisitely-made standing wooden figures, when I learned that Tomas, the store owner, did not accept credit cards. I was heart-broken and thought, “Oh, no, I’ll have to leave them behind.” However, thanks to my good friend, Donna, whose Spanish is much more fluent than mine, the three of us brain-stormed until finally, Tomas had an idea. I could pay for the figures at the hotel up the block and in a few days when the hotel was paid by the credit card company, the hotel would pay Tomas. Fabulous! Tomas, Donna, and I walked to the hotel, where the transaction was made and the first hurdle was overcome. Working out the packing and shipping arrangements took another hour or two, but during that time Tomas and I became friends and exchanged telephone numbers (the store didn’t even have a telephone so he gave me the phone number of the post office next door, saying that when I called, he could easily run next door!). Most surprisingly, the package was waiting for me in New York when I returned home from Guatemala.

Comments are welcome!

Q: How would you describe your personal artistic style?

Barbara'a pastels

Barbara’a pastels

A:  Regardless of what medium I am using, I am first and foremost a colorist.  Everything I create is vibrant with color.

The Navy taught me to be organized, goal-oriented and focused, to love challenges, and in everything I do, to pay attention to the details.  Trying to make it as an artist in New York is nothing BUT challenges, so these qualities serve me well, whether I am creating paintings, shooting and making photographs, or trying to understand the art business, keep up with social media, and manage all the tasks required of a busy artist with a New York studio, a business, and two residences to maintain.  It’s a lot, but it forces me to continually learn and grow.  As Helen Keller famously said, “Life is an adventure or it is nothing.”

These days I am rarely bored.  I thoroughly enjoy spending long, solitary hours working to become a better artist.  I am meticulous about craft and will not let work out of my studio until it is as good as I can make it.  My creative process is more exciting than ever.  It’s thrilling and energizing to continually push soft pastel to its limits and use it in ways that no other artist has done before!  

Comments are welcome!

Q: How do you define success as an artist?

Self-portrait at an architect's estate in Sri Lanka

Self-portrait at an architect’s estate in Sri Lanka

A:  This is another question that has many answers depending more or less on how things are progressing in the studio.  I’d say that you are a successful artist if you are able to keep working and evolving, and are mostly living by your own rules, using your time as you see fit to become a better artist.  This means navigating through all the ups and downs, the obstacles – and we know there are many – to art-making and finding joy and on-going discovery in your own particular creative process.  The work is everything, as we always say, but hopefully, you have found an appreciative audience and do sell a piece of art now and then.  

I know that I am more fortunate than many.  Over time I’ve realized that money, i.e., sales, is one of the less important aspects of being an artist.  The richness that being a professional artist brings to my life goes far beyond anything that can be acquired with cash!  

Comments are welcome!