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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: Would you speak about the meaning of your work and the different materials you use?
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!
Q: It is well known that you gain inspiration from foreign travel. Has anyone ever accused you of stealing their culture?
Feb 9
Posted by barbararachkoscoloreddust
The Bolivian side of Lake Titicaca
A: Yes, a few people have done so via comments on Facebook. It came as a shock.
The logic of such an accusation presumes ownership. I don’t believe any person has a claim to owning culture.
Travel is arguably the best education there is. My travels around the world, supplemented with lots of research once I return home, are an important part of my creative process. This is how I develop ideas to forge a way ahead. It is difficult and solitary work.
Every artist is tasked with remaining open to influences – however, wherever, and whenever they appear. Somewhat late in life, travel as a source of inspiration found ME. And it has been a blessing!
People around the world have become fans. Many send messages of thanks saying they are proud that some aspect of their country’s culture has inspired my work. I am always grateful and touched to know this.
Comments are welcome!
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Posted in An Artist's Life, Bolivia, Creative Process, Inspiration, Studio, The West Village, Working methods
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