Blog Archives

Q: When did you start using the sandpaper technique and why (Question from “Arte Realizzata”)

The start of a new pastel-on-sandpaper painting

A: In the late 1980s when I was studying at the Art League School in Alexandria, VA, I enrolled in  a three-day pastel workshop with Albert Handel, an artist known for his southwest landscapes in pastel and oil paint.  I had just begun working with soft pastel and was experimenting with paper.  Handel suggested I try Ersta fine sandpaper.  I did and nearly three decades later, I’ve never used anything else. 

This paper is acid-free and accepts dry media, mainly pastel and charcoal.   It allows me to build up layer upon layer of pigment and blend, without having to use a fixative.  The tooth of the paper almost never gets filled up so it continues to hold pastel.  (On the rare occasion when the tooth DOES fill up, which sometimes happens with problem areas that are difficult to resolve, I take a bristle paintbrush, dust off the unwanted pigment, and start again).  My entire technique – slowly applying soft pastel, blending and creating new colors directly on the paper, making countless corrections and adjustments, rendering minute details, looking for the best and/or most vivid colors – evolved in conjunction with this paper. 

I used to say that if Ersta ever went out of business and stopped making sandpaper, my artist days would be over.  Thankfully, when that DID happen, UArt began making a very similar paper.  I buy it in two sizes – 22″ x 28″ sheets and 56″ wide by 10-yard-long rolls.  The newer version of the rolled paper is actually better than the old, because when I unroll it, it lays flat immediately.  With Ersta I would lay the paper out on the floor for weeks before the curl would give way and it was flat enough to work on.

Comments are welcome!

Pearls from artists* # 451

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.

Your attitude towards resistance determines the success of your work and your future. Resistance should be cultivated. How you meet these obstacles that present themselves in the light of any endeavor determine the direction of your life and career.

Allow me to propose a few suggestions about how to handle the natural resistances that your circumstances might offer. Do not wait for enough time or money to accomplish what you think you have in mind. Work with what you have right now. Work with the architecture you see around you right now. Do not what for what you assume is the appropriate, stress-free environment in which to generate expression. Do not wait for maturity or insight or wisdom. Do not wait till you are sure you know what you are doing. Do not wait until you have enough technique. What you do now, what you make of your present circumstances will determine the quality of your future endeavors.

And, at the same time, be patient.

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

Comments are welcome!

Pearls from artists* # 450

On the road in Bolivia

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

All the journeys that have transpired in my life have been animated by interest. Something or someone has stopped me in my tracks. Interest, that thing that cannot really be faked, is an invitation to adventure. It has always been disorienting to do but I have to act on these interests. Somehow I know that in order to keep on working as an artist, I have to keep on changing. And this means that when interest is piqued, I must follow or die. And I know that I will have to hang on tight for the ride. These rides have changed me irrevocably.

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 tight.

… If the interest is genuine and large enough and if it is pursued with tenacity and generosity, the boomerang effect is resounding. Interest returns volley to affect your life and inevitably alter it. You must be available and attentive to the doors that open unexpectedly. You cannot wait. The doors close fast. It will change your life. It will give you adventures you never expected. You must be true to it and it will be true to you.

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

Comments are welcome!

Pearls from artists* # 441

*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 most perennially popular category of art is the cheerful, pleasant, and pretty kind: meadows in spring, the shade of trees on hot summer days, pastoral landscapes, smiling children. This can be deeply troubling to people of taste and intelligence.   

… The worries about prettiness are twofold. First, pretty pictures are alleged to feed sentimentality. Sentimentality is a symptom of insufficient engagement with complexity, by which one really means problems. The pretty picture seems to suggest that in order to make life nice, one merely has to brighten up the apartment with a depiction of some flowers. If we were to ask the picture what is wrong with the world, it might be taken as saying ‘You don’t have enough Japanese water gardens’ – a response that appears to ignore all the more urgent problems that confront humanity (primarily economic, but also moral, political, and sexual). The very innocence and simplicity of the picture seems to mitigate against any attempt to improve life as a whole. Secondly, there is the related fear that prettiness will numb us and leave us insufficiently critical and alert to the injustices surrounding us.

Alain de Botton and John Armstrong in Art as Therapy 

Comments are welcome!

Pearls from artists* # 433

Chatting with Jenny Holzer.  It looks like she did not want her picture taken, but she was actually waiving. VIGIL: Jenny Holzer and @creativetime

Chatting with Jenny Holzer.  It looks like she did not want her picture taken, but she was actually waiving.

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

…Two positions exist, the artistic and the commercial.  Between these two an abiding tension persists.  The eighteenth-century American painter Gilbert Stuart complained, “What a business is that of portrait painter.  He is brought a potato and is expected to paint a peach.”  The artist learns that the public wants peaches, not potatoes.  You can paint potatoes if you like, write potatoes, dance potatoes, and compose potatoes, you can with great and valiant effort communicate with some other potato-eaters and peach-eaters.  In so doing you contribute to the world’s reservoir of truth and beauty.  But if you won’t give the public peaches, you won’t be paid much.

Repeatedly artists take the heroic potato position.  They want their work to be good, honest, powerful – and only then successful.  They want their work to be alive, not contrived and formulaic.  As the Norwegian painter Edvard Munch put it:  “No longer shall I paint interiors, and people reading, and women knitting.  I shall paint living people, who breathe and feel and suffer and love.”

The artist is interested in the present and has little desire to repeat old, albeit successful formulas.  As the painter Jenny Holzer put it, “I could do a pretty good third generation-stripe painting, but so what? 

The unexpected result of the artist’s determination to do his [sic] own best art is that he is put in an adversarial relationship with the public.  In that adversarial position he comes to feel rather irrational for what rational person would do work that’s not wanted? 

…Serious work not only doesn’t sell well, it’s also judged by different standards.  If the artist writes an imperfect but commercial novel it is likely to be published and sold.  If his screenplay is imperfect but commercial enough it may be produced.  If it is imperfect and also uncommercial it will not be produced.  If his painting is imperfect but friendly and familiar it may sell well.  If it is imperfect and also new and difficult, it may not sell for decades, if ever.

Ironically enough, the artist attempting serious work must also attain the very highest level of distinction possible.  He must produce Crime and Punishment and The Brothers Karamazov but not also The Insulted and Injured or A Raw Youth, two of Dostoevsky’s nearly unknown novels.  He is given precious little space in this regard.      

I daresay, this last is why I devote my life to creating the most unique, technically advanced pastel paintings anyone will see!

Eric Maisel, A Life in the Arts:  Practical Guidance and Inspiration for Creative and Performing Artists

Comments are welcome!

Pearls from artists* # 432

View from the West Village

View from the West Village

*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 am asked with surprising frequency, “How do you know where to make pictures?”  To the extent there is a rule, the answer is that it is usually where you stop long enough.    

Robert Adams in Art Can Help

Comments are welcome!

Pearls from artists* # 190

Working

Working

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

For  fifty years, I worked tirelessly, never looking up, interested in nothing but the organization of my own brain.  And the works that came had their significance – which was just as well.  Otherwise, I’d be a completely useless fellow.

Still, that’s not the point.  The point is, I was lucky enough to be able to do fifty years’ work, until I was sixty-five.  What happened was, I had to pay for it.  It comes around for everyone.  I’ve paid my dues!

Chatting with Henri Matisse:  The Lost 1941 Interview, Henri Matisse with Pierre Courthion, edited by Serge Guilbaut, translated by Chris Miller

Comments are welcome!

Q: Do you have any unfinished pastel paintings?

Barbara's studio

Barbara’s studio

A:  It has been roughly 20 years since I started a painting that I couldn’t resolve and finish.  This may or may not be a good thing.  It could mean that I am not experimenting or pushing myself enough.  On the other hand, having worked as a professional artist for nearly thirty years, I am confident of my ability to think through and find solutions for finishing each painting, regardless of the difficulties encountered along the way.

Comments are welcome!       

Pearls from artists* 178

Barbara's studio with recent works in progress

Barbara’s studio with recent works in progress

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

Most individuals have never had enough time, and they’ve never had enough resources, and they’ve never had enough support or patronage or reward… and yet they still persist in creating.  They persist because they care.  They persist because they are called to be makers, by any means necessary.

…The essential ingredients for creativity remain exactly the same for everybody:  courage, enchantment, permission, persistence, trust – and those elements are universally accessible.  Which does not mean that creative living is always easy; it merely means that creative living is always possible.  

Elizabeth Gilbert in Big Magic:  Creative Living Beyond Fear  

Comments are welcome! 

 

Q: What do you think are the most important qualities in an artist?

“Big Deal,” soft pastel on sandpaper, 58″ x 38″

A: Two essentials immediately come to mind.  I believe imagination and curiosity are very important qualities, not only for artists, but for anyone who hopes to look back on a well-lived life.  As Lauren Bacall famously said, “Imagination is the highest kite one can fly.” 

It is curiosity that keeps people laser-focused on a lifetime journey of learning.  I’d venture to say that curiosity is the not-so-secret quality of accomplished people in every profession.  We humans can never know enough!

Comments are welcome!            

%d bloggers like this: