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Pearls from artists* # 133

 

"Broken," soft pastel on sandpaper, 50" x 70" framed

“Broken,” soft pastel on sandpaper, 50″ x 70″ framed

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

O writer, with what words will you describe the entire configuration of objects with the perfection that the drawing gives?  If you are unable to draw, you will describe everything confusedly and convey little knowledge of the true form of objects; and you will deceive yourself in imagining that you can satisfy your hearer when you speak of the configuration of any corporeal object bounded by surfaces.

                                                                                                        – Leonardo da Vinci 

Quoted in Leonardo’s Brain:  Understanding da Vinci’s Creative Genius by Leonard Shlain

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Q: You took classes at The Art League School in Alexandria, VA in the late eighties studying intensely with Lisa Semerad and Diane Tesler. How have these experiences impacted on the way you currently produce your artworks? By the way, I sometimes wonder if a certain kind of formal training in artistic disciplines could even stifle a young artist’s creativity. What do you think?

 

Barbara's studio

Barbara’s studio

A: From studying with Lisa and Diane I gained an excellent technical foundation and developed my ability to draw and depict just about anything in soft pastel.  They were both extremely effective teachers and I worked hard in their classes.  I probably got my work ethic from them.  Without Diane and Lisa I doubt I would have gained the necessary skills nor the confidence to move to New York to pursue my art career.

Needless to say, I believe developing excellent technical skills is paramount.  Artists can, and should, go ahead and break the rules later, but they won’t be able to make strong work, expressing what they want, without a firm foundation.  Once you have the skills, you can focus on the things that really make your work come alive and speak to an appreciative audience.   

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Pearls from artists* # 89

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

On a drifty Manhattan stroll
The kind that unearths magical treasures
I made a right turn off of Houston
Onto Bowery
And as it became Third Avenue
I came upon this old art store
That creaked hello
Its warped wooden shelves
Held new paints
A little dusty from the old building
But whose colors were deeper
Than I’d ever seen before

And at the back of the store
Up a narrow stairway
Was a tiny room
And behind a long table stood three people
(Probably artists)
Who could get me any paper I desired
Paper with designs
To collage with
Hot press, cold press
100 gram, 600 gram paper
To draw and paint on
Any kind of paper I’d ever want
Templates from heaven

And over my right shoulder
Was a tall window
Overlooking the glorious city
That has held this little room
Tenderly in its arms
All these years

And as I hugged
My rolled up package of paper
And went back downstairs
The old stairs seemed to gently whisper
“Come back soon,
We’ll keep each other alive”

And stepping outside
Third Avenue seemed more spacious
And I took a deep breath
As the world
Kaleidoscoped
With possibilities
Lovingly wrapped up
By three kind artists
At the top of the world.

Art Supplies From Heaven, by Judith Ellen Sanders, published in “Metropolitan Diary,” NY Times, April 6, 2014

Comments are welcome!

Pearls from artists* # 79

Negombo, Sri Lanka

Negombo, 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.

“What’s to say?  Great paintings – people flock to see them, they draw crowds, they’re reproduced endlessly on coffee mugs and mouse pads and anything-you-like.  And, I count myself in the following, you can have a lifetime of perfectly sincere museum-going where you traipse around enjoying everything and then go out and have some lunch.  But … if a painting really works down in your heart and changes the way you see, and think, and feel, you don’t think, ‘oh, I love this picture because it’s universal.’ ‘I love this painting because it speaks to all mankind.’ That’s not the reason anyone loves a piece of art.  It’s a secret whisper from an alleyway.  Psst, you.  Hey, kid. Yes, you.”  Fingertip gliding over the faded-out photo – the conservator’s touch, a-touch-without-touching, a communion wafer’s space between the surface and his forefinger.  “An individual heart-shock.  Your dream … Vermeer’s dream.  You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum shop sees something else entire, and that’s not even to mention the people separated from us by time – four hundred years before us, four hundred years after we’re gone – it’ll never strike anybody the same way and the great majority of people it’ll never strike in any deep way at all – a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and particular.  Yours, yours.  I was painted for you… fateful objects.  Every dealer and antiquaire recognizes them.  The pieces that occur and recur.  Maybe for someone else, not a dealer, it wouldn’t be an object.  It’d be a city, a color, a time of day.  The nail where your fate is liable to catch and snag.”    

Donna Tartt in The Goldfinch 

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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!

Pearls from artists* # 66

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.

I craved honesty, yet found dishonesty in myself.  Why commit to art?  For self-realization, or for itself?  It seemed indulgent to add to the glut unless one offered illumination.

Often I’d sit and try to draw, but all the manic activity in the streets, coupled with the Vietnam War, made my efforts seem meaningless.  I could not identify with political movements.  In trying to join them I felt overwhelmed by yet another form of bureaucracy.  I wondered if anything I did mattered.

Robert [Mapplethorpe] had little patience with these introspective bouts of mine.  He never seemed to question his artistic drives, and by his example, I understood that what matters is the work:  the string of words propelled by God becoming a poem, the weave of color and graphite scrawled upon the sheet that magnifies His motion.  To achieve within the work a perfect balance of faith and execution.  From this state of mind comes a light, life-charged.

Patti Smith in Just Kids

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Pearls from artists* # 45

iPad photo

iPad photo

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

Why do you write plays?  I am asked by the novelist.  Why do you write novels?  I am asked by the dramatist.  Why do you make films?  I am asked by the poet.  Why do you draw?  I am asked by the critic.  Why do you write?  I am asked by the draughtsman.  Yes, why?  I wonder.  Doubtless so that my seed may be blown all over the place.  I know little about this breath within me, but it is not gentle.  It does not care for the sick.  It is unmoved by fatigue.  It takes advantage of my gifts.  It wants to do its part.  It is not inspiration, it’s expiration one should say.  For this breath comes from a zone in man into which man cannot descend, even if Virgil were to lead him there, for Virgil himself did not descend into it.

Jean Cocteau in The Difficulty of Being

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Q: Why do you need to use a photograph as a reference source to make a pastel painting?

One of Barbara's reference photos

One of Barbara’s reference photos

A:  When I was about 4 or 5 years old I discovered that I had a natural ability to draw anything that I could see.  It’s the way my brain is wired and it is a gift!  One of my earliest memories as an artist is of copying the Sunday comics.  Always it has been much more difficult to draw what I CANNOT see, i.e., to recall how things look solely from memory or to invent them outright.

The evolution of my pastel-on-sandpaper paintings has been the opposite of what one might expect.  I started out making extremely photo-realistic portraits.  I remember feeling highly unflattered when after months of hard work, someone would look at my completed painting and say, “It looks just like a photograph!”  I know this was meant as a compliment, but to me it meant that I had failed as an artist.   Art is so much more than copying physical appearances.

So I resolved to move away from photo-realism.  It has been slow going and part of me still feels like a slacker if I don’t put in all the details.  But after nearly three decades I have arrived at my present way of working, which although still highly representational, contains much that is made up, simplified, and/or stylized.  As I have always done, I continue to work from life and from photographs, but at a certain point I put everything aside and work solely from memory.

Comments are welcome!

Pearls from artists* # 35

Westbeth, NYC

Westbeth, NYC

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

An individual who has committed himself to art and now wrestles within it, having given up everything else, has also become strict, you see.  Such a person is more likely to warn off others rather than to beckon them to enter into a realm of the most tremendous demands and indescribable sacrifices.  And for someone sitting at his desk, behind closed doors, matters are still relatively simple:  at least he has to deal only with himself.  But an actor, even when his work originates in the purest experiences of his being, stands in the open and performs his work in the open where he is exposed to all the influences, detractions, disturbances, and even hostilities that originate in his colleagues and his audience and that interrupt, distract, and split him off.  For him things are more difficult than for anyone else; above all, he needs to lure success and to base his actions on it.  And yet what misery results if this new alignment leads him to abandon the inner direction that had driven him into art in the first place.  He seems to have no self; his job consists in letting others dictate selves to him.  And the audience, once it has accepted him, wants to preserve him within the limits where it finds entertainment; and yet his achievement depends entirely upon his capacity to maintain an interior constancy through all kinds of changes, blindly, like a madman.  Any momentary weakness toward success is as sure to doom him as giving in and drawing on applause as a precondition for their creation spells doom for the painter or poet.

Ulrich Baer in The Wisdom of Rilke

Comments are welcome!     

Pearls from artists* # 31

A corner of Barbara's studio

A corner of 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.

When we are children we unquestioningly see the objects around us as alive; we speak to them, give them names, breathe life into them.  The imagination knows no bounds.  As we grow up, we gradually lose this facility, until we finally arrive in an utterly “demystified” world that draws clear boundaries between what is alive and what is not, between subjective and objective perception.  According to Sigmund Freud, culture is the only domain in our modern society that gives a measure of legitimacy to the persistence of this infantile desire to see things as animate.  In the field of art, imagination is the precondition on which fiction of any sort rests; in art, mental states can be projected onto objects and images, but not in social reality or the sciences.

Dietrich Karner in Animism:  Modernity Through the Looking Glass

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