Blog Archives
Pearls from artists* # 325
“Myth Meets Dream,” soft pastel on sandpaper, 47″ x 38″
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Homo sapiens is the animal that means something, or that desperately wants to mean something. Undoubtedly our thirst for meaning has a lot to do with our petrifying awareness of death, itself a side effect of the imagination, and one that makes our unique position as much of a curse as it is a gift.
As the prime fruit of the imagination, art is the incontrovertible sign of humanity’s presence on earth. But what constitutes the human itself? The prehistoric paintings at Chauvet confront us with a dimension of ourselves that, though familiar in ways, remains in many respects unknown and may ultimately be unknowable. Human consciousness has access to a powerful otherworld, the place of dreams and myth, poetry and lunacy. [This is]… the “imaginal,” the name Henry Corbin gave to the intermediate realm, central to the inscrutable mind of God. As a concrete manifestation of this imaginal realm in the public sphere, art calls us back to the source as a matter of course.
J.F. Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action
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Q: Please speak about how the three pastel paintings series that you have created interrelate.
“The Orator,” soft pastel on sandpaper, 38″ x 58″
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 last spring, I visited a mask exhibition at the National Museum of Ethnography and Folklore in La Paz. The masks were presented against black walls, were 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 three pastel paintings in the Bolivianos series. Two more are in progress now.
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. Each painting is a Trojan horse. There is plenty of backstory to my images, although I usually prefer not to over-explain them. Much is to be said for mystery in art.
The world I depict is that of the imagination and this realm owes little debt to the natural world. Recently, at an art talk 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.”
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Pearls from artists* #278
National Museum of Ethnography and Folklore, La Paz, 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.
Inspiration is an unforeseen quantity, the muse that assails at the hidden hour. The arrows fly and one is unaware of being struck, and that a host of unrelated catalysts have joined clandestinely to form a system of its own, rendering one with the vibrations of an incurable disease – a burning imagination – at once unholy and divine.
Patti Smith in Devotion
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Q: What genre do you work in?
“Broken,” soft pastel on sandpaper, 38″ x 58″ image, 50″ x 70″ framed
A: I consider all of my pastel paintings and photographs to be “contemporary conceptual realism.” In my work there is a disquieting quality, a feeling that things are not quite as innocent as they at first seem. The world I depict is a world of the imagination that owes little debt to the natural world. As one New York art critic noted, “What we bring to a Rachko… we get back, bountifully.”
Comments are welcome!
Pearls from artists* # 243
Self portrait, White Sands, NM
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Art is not a making-oneself-understood but an urgent understanding-of-oneself. The closer you get in your most intimate and solitary contemplation or imagination (vision), the more has been achieved, even if no one else were to understand it.
The Poet’s Guide to Life: The Wisdom of Rilke, edited and translated by Ulrich Baer
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Pearls from artists* # 220
Lima, Peru
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
It is the job of the writer to say, look at that. To point. To shine a light. But it isn’t that which is already bright and beckoning that needs our attention. We develop our sensitivity – to use John Berger’s phrase, our “ways of seeing” – in order to bear witness to what is. Our tender hopes and dreams, our joy, frailty, grief, fear, longing, desire – every human being is a landscape. The empathic imagination glimpses the woman working the cash register at a convenience store, the man coming out of the bathroom at the truck stop, the mother chasing her toddler up and down the aisle of the airplane, and knows what it sees. Look at that. This human catastrophe, this accumulation of ordinary blessings, of unbearable losses. And still, a ray of sunlight, a woman doing the wash, a carcass of beef. The life that holds us. The life we know.
Dani Shapiro in Still Writing: The Perils and Pleasures of a Creative Life
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Pearls from artists* # 177
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.
Everyone but a lunatic has a reason for what he does. Yes, in that sense I am a determinist. But I believe, with Kant, that the mind is self-determined. That is, I believe intensely in the creative freedom of the mind. That is indeed absolutely essential to man’s security in a chaotic world of change. He is faced all the time with unique complex problems. To sum them up for action is an act of creative imagination. He fits the different elements together in a coherent whole and invents a rational act to deal with it. He requires to be free, he requires his independence and solitude of mind, he requires his freedom of mind and imagination. Free will is another matter – it is a term, or rather a contradiction in terms, which leads to continual trouble. The will is never free – it is always attached to an object, a purpose. It is simply the engine in the car – it can’t steer. It is the mind, the reason, the imagination that steers.
Joyce Carey in The Paris Review Interviews: Writers at work 1st Series, edited and with an introduction by Malcolm Cowley
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Pearls from artists* # 166
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.
An interesting discussion at Leblond’s about geniuses and outstanding men. Dimier thinks that great passions are the source of all genius! I think that it is imagination alone or, what amounts to the same thing, a delicacy of the senses that makes some men see where others are blind, or rather, makes them see in a different way. I said that even great passions joined to imagination usually lead to a disordered mind. Dufresne made a very true remark. He said that fundamentally, what made a man outstanding was his absolutely personal way of seeing things. He extended this to include great captains, etc. and, in fact, great minds of every kind. Hence, no rules whatsoever for the greatest minds; rules are only for people who merely have talent, which can be acquired. The proof is that genius cannot be transmitted.
The Journal of Eugene Delacroix edited by Hubert Wellington
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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!
Q: How do you decide how much realism and how much imagination to put into a pastel painting?
Models, reference photograph, and pastel painting in progress
A: I wouldn’t say “decide” is the right word because creating a painting is not strictly the result of conscious decisions. I think of my reference photograph, my preliminary sketch, and the actual folk art objects I depict as starting points. Over the months that it takes to make a pastel painting, the resulting interpretive development pushes the painting far beyond this source material. When all goes well, the original material disappears and characters that belong to the painting and nowhere else emerge.
It is a mysterious process that I am still struggling to understand. This is the best way I can describe what it feels like from the inside, as the maker.
Comments are welcome!
