Blog Archives

Q: Are there any artists you admire? (Question from “Cultured Focus” Magazine)

“Henri Matisse: Forms in Freedom,” The National Arts Center, Tokyo, Japan


A: Among historical painters, I adore Henri Matisse and André Derain, for their striking compositions and bold use of colors.  Among living photographers, I am most fascinated by the Pictures Generation, namely, Cindy Sherman, Laurie Simmons, Sandy Skoglund, and Gregory Crewdson.  I am drawn to these photographers, I think, because my earliest pastel painting series involved staged photography. 

Comments are welcome!

Q: Did you formally study art? (Question from “Cultured Focus Magazine”)

International Center of Photography website

A: My bachelor’s degree in Psychology is from the University of Vermont.  I did not formally study art, unless you want to count the several years-worth of drawing and painting classes I took at the Art League School in Alexandria, VA. I never went to art school so do not have a bachelor’s or master’s degree in art.  

Much later, in the early 2000s, I was compelled to study photography at the International Center of Photography in New York.  This is a rather long story.

On September 11, 2001, my husband Bryan Jack, a high-ranking federal government employee, a brilliant economist and a budget analyst at the Pentagon, was on his way to present his monthly guest lecture in economics at the Naval Postgraduate College in Monterey, CA. He was a passenger on the plane that departed from Dulles Airport and was high-jacked and crashed into the Pentagon.  

Losing Bryan on 9/11 was the biggest shock of my life, devastating in every way imaginable. We were soulmates and newly married. I have lived with his loss every single day for more than twenty years now.  Life has never been the same.

In the summer of 2002 I was beginning to feel ready to get back to work. Learning about photography and cameras became essential avenues to my well-being.  

My first challenge was learning how to use Bryan’s 4 x 5 view camera. Bryan had always taken the 4 x 5 negatives from which I derived the reference photos that were essential tools for making pastel paintings. I enrolled in a one-week view camera workshop at the International Center of Photography in New York.  Surprisingly, it was very easy. I had derived substantial technical knowledge just from watching Bryan for many years.

After the view camera workshop, I decided to throw myself into learning this new medium, beginning with Photography I. I spent the next few years taking many classes at ICP and learning as much as I could. Eventually, I learned how to use Bryan’s extensive collection of film cameras, to properly light the setups that served as subject material for my “Domestic Threats” pastel paintings, and to make my own large chromogenic prints in a darkroom. 

Then in October 2009 I was invited to present a solo photography exhibition at a gallery in New York. Continuing to make art after Bryan’s death had seemed like such an impossibility. I remember thinking how proud he would have been to know I became a good photographer.

Comments are welcome!

Q: What kind of reactions do you get from spectators at your exhibitions? (Question from “Cultured Focus Magazine”)

A group exhibition in New Jersey


A: Reactions to my work run the gamut – from dopey comments like, “I’m scared!” to “How in the world is such beauty and profundity possible to achieve using only soft pastel on a piece of sandpaper!”

I’m sure most artists can say the same. We can only hope that our work finds its way to an audience that has the eyes, heart, and mind to understand, to appreciate on a deep level the decades of devotion, sacrifice, and hard work that go into creating works of art.

Comments are welcome!

Q: Are there any artists whose work you particularly admire? (Question from “Cultured Focus Magazine”)

Henri Matisse: Forms in Freedom at the National Art Center Tokyo

A: Among historical painters, I adore Henri Matisse and André Derain, for their striking compositions and bold use of colors.  Among living photographers, I am most fascinated by the Pictures Generation, namely, Cindy Sherman, Laurie Simmons, Sandy Skoglund, and Gregory Crewdson.  I am drawn to these photographers, I think, because my earliest pastel painting series involved staged photography. 

Comments are welcome!

Q: What inspires you to create? (Question from “Cultured Focus Magazine”)

Barbara’s Studio
Barbara’s Studio

A:  You remember the expression, to whom much is given, much is expected? Having discovered around the age of 5 or so that I could draw anything I could see, I know I have been given a tremendous gift. I remember being completely surprised as a kid to realize that not everyone can do this.

Therefore, I feel a kind of sacred obligation to develop my abilities as far as possible, to make the most of my short time on this earth. It is a thrill to see not only what is going to happen next in the studio, but also in my life. For example, I have become a world traveler. I wonder, which new country will I visit next?

Comments are welcome!

Q: When did you begin drawing and painting? (Question from “Cultured Focus Magazine”)

In the studio
In the studio

A: This is a long story because my path to becoming a professional artist has been unusually circuitous.  

I  grew up in a blue collar family in suburban New Jersey. My parents were both first-generation Americans and no one in my family had gone to college. I was a smart kid, who showed some artistic talent in kindergarten and earlier. At the age of 6, my sister, my cousin, and I enrolled in Saturday morning painting classes at the studio of a local artist. I continued the classes for about 8 years and became a fairly adept oil painter.

At the age of 15 my father decided that art was not a serious pursuit – he called it a hobby, not a profession – and abruptly stopped paying for my Saturday morning lessons. Unfortunately, there were no artists or suitable role models in my family. So with neither financial nor moral support to pursue art, I turned my attention to very different interests.

Cut to ten years later. When I was 25, I earned my private pilot’s license and spent the next two years amassing other flying licenses and ratings, culminating in a Boeing-727 flight engineer’s certificate. 

At 29, I joined the Navy. By then I was an accomplished civilian pilot with thousands of flight hours so I expected to fly jets. However, in the early 1980s women were not allowed in combat.  There were very few women Navy pilots and those few were restricted to training male pilots. There were no women pilots landing on aircraft carriers.

In the mid-1980s I was in my early 30s, a lieutenant on active duty in the Navy, working a soul-crushing job as a computer analyst on the midnight shift in a Pentagon basement. It was literally and figuratively the lowest point of my life.  I was completely bored and miserable. 

Remembering the joyful Saturdays of my youth when I had taken art classes with a local New Jersey painter, I enrolled in a drawing class at the Art League School in Alexandria, Virginia. Initially I wasn’t very good, but it was wonderful to be around other women  and a world away from the mentality of the Pentagon. I was having fun again! I enrolled in more classes and became a very motivated full-time art student who worked nights at the Pentagon. As I studied and improved my skills, I quickly discovered my preferred medium – soft pastel on sandpaper. 

Although I knew I had found my calling, for more than a year I agonized over whether or not to leave the financial security of a Navy paycheck.  Finally I did make up my mind and resigned my commission, effective on September 30, 1989. With Bryan’s (my then boyfriend’s) support, I left the Navy to devote my time to making art.

I’m probably one of the few people who can name THE day I became a professional artist! That day was October 1, 1989. Fortunately, I have never needed another job. I remained in the Navy Reserve for the next 14 years, working primarily at the Pentagon for two days each month and two weeks each year. I commuted by train to Washington, DC after I moved to Manhattan in 1997.  Finally on November 1, 2003, I officially retired as a Navy Commander.

Life as a self-employed professional artist is endlessly varied, fulfilling, and interesting. I have never regretted my decision to pursue art full-time.

Comments are welcome!