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Q: You are a multi-talented woman! Tell us about your book, “From Pilot to Painter,” and how writing, for you, compares to painting and photography. Which do you prefer?

“From Pilot to Painter”

“From Pilot to Painter”

A:  I am pleased that my eBook FROM PILOT TO PAINTER is available on Amazon and iTunes.  It is based on my blog and is part memoir, including my personal loss on 9/11, insights into my creative practice, and intimate reflections on what it’s like to be an artist living in New York City now. The eBook includes new material not found on the blog, plus 25+ reproductions of my vibrant pastel-on-sandpaper paintings, a Foreword by Ann Landi (who writes for ARTnews and The Wall Street Journal), and more.

“Barbara Rachko’s Colored Dust” (the title of my blog) continues to be a crucial part of my overall art practice.  Blogging twice a week forces me to think deeply about my work and to explain it clearly to others.  The process has helped me develop a better understanding about why I make art and has encouraged me to become a better writer.

From the beginning in the 1980s I used photographs as reference material and Bryan would shoot 4” x 5” negatives of my elaborate setups with his Toyo-Omega view camera. In those days I rarely picked up a camera except when we were traveling. After Bryan was killed on 9/11, I inherited his extensive camera collection – old Nikons, Leicas, Graphlex cameras, etc. – and I wanted to learn how to use them. In 2002 I enrolled in a series of photography courses (about 10 over 4 years) at the International Center of Photography in New York. I learned how to use all of Bryan’s cameras and how to make my own big color prints in the darkroom. Along the way I discovered that the sense of composition, form, and color I developed over many years as a painter translated well into photography. The camera was just another medium with which to express my ideas. Astonishingly, in 2009 I had my first solo photography exhibition in New York.

It’s wonderful to be both a painter and a photographer. Pastel painting will always be my first love, but photography lets me explore ideas much faster than I ever could as a painter. Paintings take months of work. To me, photographs – from the initial impulse to hanging a framed print on the wall – are instant gratification.

For two years I have been using my iPad Pro to capture thousands of travel photographs.  Most recently, I visited Gujarat and Rajasthan in India. I have never been inclined to use a sketchbook so composing photos on my  iPad keeps my eye sharp while I’m halfway around the world, far from my studio practice.

Comments are welcome!

Q: Would you speak about the meaning of your work and the different materials you use?

About half of Barbara’s pastels

About half of Barbara’s pastels

A:  It is as difficult to explain the meaning of my art as it is to interpret the meaning of life!  I am invested in and concerned with process:  foreign travel, prodigious reading, devotion to craft, months of slow meticulous work in the studio trying to create an exciting work of art that has never been seen before, etc.  I love making pastel paintings!  Many years ago I challenged myself to push the limits of what soft pastel can achieve.  I am still doing so.

I leave it to others – viewers, arts writers, critics, art historians – to study my creative journey and talk about meanings.  I believe an artist is inspired to create and viewers ponder the creation.  I would not presume to tell anyone how to react to my work.

For many years I have been devoted to promoting soft pastel as a fine art medium.  There are excellent reasons it has been around for five hundred years!  It is the most permanent of media. There’s no liquid binder to cause oxidizing or cracking over time, as happens with oil paint.  Pastel colors are intense because they are close to being pure pigment.  Pastel allows direct application (no brushes) with no drying time and no color changes.

I use UArt acid-free sandpaper.  This is not sandpaper from a hardware store.  It is made for artists who work in pastel and allows me to build up layers of pigment without using a fixative.  My process – slowly applying and layering pastels, blending and mixing new colors directly on the paper, making countless adjustments, searching for the best and/or most vivid colors – continually evolves.  Each pastel painting takes months to create.

Comments are welcome!

Pearls from artists* # 316

Central Park, NYC

Central Park, 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.

Works of art are of an infinite loneliness and with nothing so little to be reached as with criticism.  Only love can grasp and hold and be just toward them.  Consider yourself and your feeling right every time with regard to every such argumentation, discussion, or introduction; if you are wrong after all, the natural growth of your inner life will lead you slowly and with time to other insights.  Leave to your opinions their own quiet undisturbed development, which, like all progress, must come from deep within and cannot be pressed or hurried into anything.  Everything is gestation and then bringing forth.  To let each impression and each germ of a feeling come to completion wholly in itself, in the dark, in the inexpressible, the unconscious, beyond the reach of one’s own intelligence, and await with deep humility and patience the birth-hour of a new clarity:  that alone is living the artist’s life:  in understanding as in creating.     

There is also no measuring with time, no year matters, and ten years are nothing.  Being an artist means not reckoning and counting, but ripening like the tree which does not force its sap and stands confident in the storms of spring without the fear that after them may come no summer.  It does come.  But it comes only to the patient, who are there as though eternity lay before them, so unconcernedly still and wide.  I learn it daily, learn it with pain to which I am grateful:  patience is everything!   

Rainer Maria Rilke, Letters to a Young Poet, Translation by M.D. Herter Norton

Comments are welcome!

Pearls from artists* # 181

"Epiphany," soft pastel on sandpaper, 38" x 58"

“Epiphany,” soft pastel on sandpaper, 38″ x 58″

* 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 takes courage to face the unfamiliar, to espouse the different; courage to fight one’s own prejudices only less than those of others.  Was it not a little child who first dared call the emperor naked?  It took great fortitude for Kepler to adhere to his new notion of infinity (as the second focus of a parabola), for, as he said, “The idea seems absurd, but I can find no flaw in it”; just as it did for Galileo to murmur among his inquisitors, “Yet the world does move.”  Most of us will never achieve great imaginative insights; we might at least attempt to be tolerant of those offered by others.

The Biological Basis of Imagination by R.W. Gerard in The Creative Process edited by Brewster Ghiselin

Comments are welcome!

 

Q: Why do you prefer not to explain your titles and imagery?

"Truth Betrayed by Innocence," soft pastel on sandpaper, 58" x 38"

“Truth Betrayed by Innocence,” soft pastel on sandpaper, 58″ x 38″

A:  It’s mainly because answers close down imagination and creativity.  I enjoy hearing alternative interpretations of my pastel paintings.  People are wildly imaginative and each person brings unique insights to their art viewing.  By leaving meanings open, conversation is generated.  Most artists want viewers to talk about their work.

Once at a public artist’s talk that I attended, I was told by an artist that my interpretation of her title was completely wrong.  First of all, how can an interpretation honestly expressed by your audience be “wrong?”  Art is as open to interpretation as a Rorschach test (art IS a kind of Rorshach test).  Then she explained the thinking behind her title and succeeded in cutting off all further conversation.  I felt belittled.  Later several people told me that my interpretation was much more compelling.  Still, the experience was mortifying and I hope to never do that to anyone.

Comments are welcome!  

Q: Does your work have an overall message?

Barbara's studio

Barbara’s studio

A:   Maybe there’s an overarching message, but that’s something for viewers to judge. I generally don’t like to specify what my work is about because my thinking about meanings evolves constantly and I don’t want to cut off people’s interpretations. Other people’s insights and opinions are equally as valid as mine.  

Recently I had the experience of being told that my interpretation of an artist’s work was “wrong.”  Besides hurting my feelings, she cut off a dialog and learned nothing about how her work is perceived.  I found it sad because art is communication and an opportunity was missed.

Comments are welcome!
 

Pearls from artists* # 37

Self portrait, White Sands, NM

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.

Certainly the most compelling thing in both personal life and art is to be yourself.  When we engage attentively and honestly, pay attention to the insights that come to us, see our denial and faulty thinking, and engage in uncovering the obstacles and blocks to our expression, we realize that art is a wonderful medium for personal growth.

If we realize all this, we do ourselves justice when we claim to be an artist.  We really mean it, and we own it.  Today, as we start working on whatever it is we’re doing, let’s claim our role as artists, being attentive to process as much as finished results.

Ian Roberts in Creative Authenticity:  16 Principles to Clarify and Deepen Your Artistic Vision.

Comments are welcome!

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