Blog Archives
Q: What do you enjoy most about being an artist?
With “Majordomo,” soft pastel on sandpaper, 20” x 26”
A: This is a question I enjoy revisiting every so often because life as an artist does not get easier; just the opposite, in fact. Visual artists tend to be “one man bands.” We do it all notwithstanding the fact that everything gets harder as we get older. So it’s good to be reminded about what makes all the sacrifice and hard work worthwhile.
There are so many things to enjoy! I make my own schedule, set my own tasks, and follow new interests wherever they may lead. I am curious about everything and am rarely bored. I continually push my pastel technique and strive to become a better artist. There is still so much to learn!
My relationship with collectors is another perk. I love to see pastel paintings hanging on collectors’ walls, especially when they’re newly installed and the owners are excited to take possession. This means that the piece has found a good home, that years of hard work have come full circle! And it’s often the start of a long friendship. After living with my pastel paintings for years, collectors tell me they see new details never noticed before and they appreciate the work more than ever. It’s extremely gratifying to have built a network of supportive art-loving friends around the country. I’m sure most artists would say the same!
Comments are welcome!
Q: What’s on the easel today?
Work in progress
A: “Majordomo,” 20” x 26,” soft pastel on sandpaper, is coming along. After today’s studio session, I will put it aside and add finishing details when I am able to see it fresh again. I‘ve been looking at this piece too long to know what else it needs now.
Comments are welcome!
Q: Do you enjoy being interviewed?
In the studio
A: I do very much. Each new interview is another opportunity to discover what is remembered, what is kept because it still seems important, and how certain details are selected from amongst all the accumulated memories of a lifetime. My own story is continually evolving as some facts are left out or rearranged, and others added. New connections keep being made while some others are discarded. I find it fascinating to read over old interviews and compare them with what I remember in the present.
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
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: What do you see when you look back at your early efforts?
“Myth Meets Dream,” soft pastel on sandpaper, 47″ x 38,” 1993
A: I see continuity in subject matter and in medium, surely. For thirty-three years I have been inspired by foreign travel and research. In addition, I remain devoted to pushing the limits of what soft pastel can do and to promoting its merits as a fine art medium.
Here and there I see details I would render differently now; not exactly mistakes, but things that maybe could be done better. Fortunately, I think, all of my work is framed behind glass or plexiglas, making it extremely difficult to attempt revisions.
Perhaps most important of all, I see the long personal road that has advanced my work to its present state. Each gain has been hard-fought.
Comments are welcome!
Q: What’s on the easel today?
Work in progress
A: I continue working on “Acolytes,” soft pastel on sandpaper, 38” x 58.” It’s slow going at this stage as I refine my drawing and bring everything to a high state of finish. My work is all about details.
Comments are welcome!
Q: How can you tell with certainty when a pastel painting is finished?
“Poker Face,” soft pastel on sandpaper, 38″ x 58″
A: For me a work is finished when to add or subtract some element causes the composition to diminish or somehow weaken. It’s mostly a matter of where I want viewers to look and how I decide to lead their eyes around a painting.
I work on each piece for several months so that by the time it’s nearly done, I can no longer see flaws. I put it aside for a week or two. Then I pull it out again, turn it upside down, and any details that need improving become obvious. Once I fix them, I know the painting is finally finished and ready to be signed, photographed, and delivered to my framer.
Comments are welcome!
Q: As an artist what would you say is your particular ‘superpower’?
Barbara’s studio
A: I have been told that it is my unique way of composing images or, in other words, how I deliberately move the viewer’s eye around the picture. More exactly, it’s the way I combine flat shapes, patterns, angles, forms, modeling, decoration, details, lights, and darks in surprising ways when I make pastel paintings or pick up a camera.
But I think there’s a secondary, more subtle element: my understanding of and sensitivity to using color for psychological effect. The way I use color in pastel paintings is intuitive. This is something I haven’t reflected on very much yet, but will examine in a future post.
Comments are welcome!
Q: What’s on the easel today?
Work in progress
A: I am in the very early stages of a large pastel painting. I have never painted any of these figures before and they originated in different parts of the world. The bird (left) is from the Brooklyn Museum’s store, although it was hand carved in Guatemala. The standing figure is carved wood with beautiful painted details. It was a lucky find on a trip to Panajachel, Guatemala. The armadillo (red and grey) was made by one of my favorite Mexican folk artists (now deceased) and I believe it’s one of the last pieces he completed. It is a papier mâché figure that I found in a small shop in Mexico City. The figure on the upper right is a wooden mask bought from a talkative and talented artist at a hotel in Kandy, Sri Lanka. It depicts nagas (cobras), although you can’t tell that yet in the painting.
Comments are welcome!
Q: You have written about how you came to your current subject matter, but what led you away from photorealism to work that while not exactly abstract, leans more in that direction?
Barbara’s studio
A: Once I had achieved a high degree of technical facility with soft pastel, there was not much more to be gained from copying reality. Cameras do an excellent job of that so what would be the point?
Ultimately, all art lies in following an experience through to the end. Art is in the choices one makes. A visual artist’s private decisions about what to include and what to leave out become her unique inimitable style. Years ago I made a conscious decision to abandon photorealism. Since then I have been on a journey to work more from imagination and direct experience and less from physical reality.
It’s funny. I have always worked from photographs. Because I have a strong work ethic and substantial technical skill, I often feel like a slacker if I do not put in all the details that I see in the reference photo. That’s why the journey has been so slow, I think, as I convince myself it’s really ok to omit more and more details.
Comments are welcome!
