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Q: Your work is unlike anyone else’s. There is such power and boldness in your pastels. What processes are you using to create such poignant and robustly colored work?

Barbara working on an interview. Photo: Maria Cox

Barbara working on an interview. Photo: Maria Cox

A:  For thirty-three years I have worked exclusively in soft pastel on sandpaper.  Pastel, which is pigment and a binder to hold it together, is as close to unadulterated color as an artist can get.  It allows for very saturated color, especially using the self-invented techniques I have developed and mastered. I believe my “science of color” is unique, completely unlike how any other artist works.  I spend three to four months on each painting, applying pastel and blending the layers together to mix new colors on the paper.  

The acid-free sandpaper support allows the buildup of 25 to 30 layers of pastel as I slowly and meticulously work for hundreds of hours to complete a painting.  The paper is extremely forgiving.  I can change my mind, correct, refine, etc. as much as I want until a painting is the best I can create at that moment in time. 

My techniques for using soft pastel achieve rich velvety textures and exceptionally vibrant color.  Blending with my fingers, I painstakingly apply dozens of layers of pastel onto the sandpaper.  In addition to the thousands of pastels that I have to choose from, I make new colors directly on the paper.  Regardless of size, each pastel painting takes about four months and hundreds of hours to complete.  

I have been devoted to soft pastel from the beginning.  In my blog and in numerous interviews online and elsewhere, I continue to expound on its merits.  For me no other fine art medium comes close. 

My subject matter is singular.  I am drawn to Mexican, Guatemalan, and Bolivian cultural objects—masks, carved wooden animals, papier mâché figures, and toys.  On trips to these countries and elsewhere I frequent local mask shops, markets, and bazaars searching for the figures that will populate my pastel paintings.  How, why, when, and where these objects come into my life is an important part of the creative process.  Each pastel painting is a highly personal blend of reality, fantasy, and autobiography.

Comments are welcome!

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: Would you describe how you are taking soft pastel in new directions as a fine art medium?

Barbara at work, Photo: Marianne Barcellona

Barbara at work, Photo: Marianne Barcellona

A:  I have been devoted to soft pastel for more than thirty years.  In this blog and in countless interviews online and elsewhere, I continue to expound on its merits.  For me no other fine art medium comes close.

I have developed my own original methods for working with soft pastel, pushing this venerable 500-year-old medium to its limits and using it in ways that no one has done before.  I have created a unique science of color in which I layer and blend pigments.  When viewers (including fellow artists) see my work in person for the first time, they often ask, “What medium is this?”  

My self-invented techniques for using soft pastel achieve rich velvety textures and exceptionally vibrant color.  Blending with my fingers, I painstakingly apply dozens of layers of pastel onto acid-free sandpaper.  In addition to the thousands of pastels that I have to choose from, I blend new colors directly on the paper.  Each pastel painting takes about three months and hundreds of hours to complete. 

My subject matter is singular.  I am drawn to Mexican, Guatemalan, and Bolivian cultural objects—masks, carved wooden animals, papier mâché figures, and toys.  On trips to these places and elsewhere I frequent local mask shops, markets, and bazaars searching for the figures that will populate my pastel paintings.  How, why, when, and where these objects come into my life is an important part of the creative process.  Each pastel painting is a highly personal blend of reality, fantasy, and autobiography.

Comments are welcome!  

Q: How long does it take you to complete a pastel-on-sandpaper painting?

Barbara's studio

Barbara’s studio

A:  Mine is a slow and labor-intensive process.  First, there is foreign travel to find the cultural objects – masks, carved wooden animals, paper mâché figures, and toys – that are my subject matter.  If they are heavy I ship them home.  

Next comes planning exactly how to photograph them, lighting and setting everything up, and shooting a roll of 220 film with my Mamiya 6 camera.  I still like to use an analog camera for my fine art work, although I am rethinking this.  I have the film developed, decide which image to use, and order a 20” x 24” reference photograph from Manhattan Photo on West 20th Street.  

Then I am ready to start.  I work on each pastel-on-sandpaper painting for approximately three months.  I am in my studio 7 to 8 hours a day, five days a week.  During that time I make thousands of creative decisions as I apply and layer soft pastels (I have 8 tables-worth to choose from!), blend them with my fingers, and mix new colors directly on the sandpaper.  A finished piece consists of up to 30 layers of soft pastel.  My self-invented technique accounts for the vivid, intense color that often leads viewers of my originals to look very closely and ask, “What medium is this?”  I believe I am pushing soft pastel to its limits, using it in ways that no other artist has done.

Comments are welcome!

Q: Would you speak about the practical realities – time and expenses – involved in making your pastel-on-sandpaper paintings? What might people be surprised to learn about this aspect of art-making?

Studio

Studio

A:  I have often said that this work is labor-intensive.  In a good year I can complete five or six large (38″ x 58″) pastel paintings.  In 2013 I am on track to make four, or, on average, one completed painting every three months.  I try to spend between thirty-five and forty hours a week in the studio.  Of course, I don’t work continuously all day long.  I work for awhile, step back, look, make changes and additions, think, make more changes, step back, etc.  Still, hundreds of hours go into making each piece in the “Black Paintings” series, if we count only the actual execution.  There is also much thinking and preparation – there is no way to measure this – that happen before I ever get to stand before an empty piece of sandpaper and begin.

As far as current expenses, they are upwards of $12,000 per painting.  Here is a partial breakdown:

$4500    New York studio, rent and utilities ($1350/month) for three months                                         

$2500    Supplies, including frames (between $1500 – $1700), photographs, pastels (pro-rated), paper                  

$2000    Foreign travel to find the cultural objects, masks, etc. depicted in my work (approximate, pro-rated)                                                   

$3000    Business expenses, such as computer-related expenses, website, marketing, advertising, etc.                                                                      

This list leaves out many items, most notably compensation for my time, shipping and exhibition expenses, costs of training (i.e. ongoing photography classes), photography equipment, etc.  Given my overhead, the paintings are always priced at the bare minimum that will allow me to continue making art. 

I wonder:  ARE people surprised by these numbers?  Anyone who has ever tried it knows that art is a tough road.  Long ago I stopped thinking about the cost and began doing whatever is necessary to make the best paintings.  The quality of the work and my evolution as an artist are paramount now.  This is my life’s work, after all.  

Comments are welcome!

    

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