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Pearls from artists* # 404

"Broken," soft pastel on sandpaper, 38" x 58" image, 50" x 70" framed

“Broken,” soft pastel on sandpaper, 38″ x 58″ image, 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.

Before we can even think of ecological rescue, global disarmament, or economic reform, we must find a way back to what science fiction writers call our homeworld.  The term encompasses more than the biosphere; it also includes our homes, our places of work, our  communities, families, friends, and lovers.  It includes our technologies and tools, the physical body, the sensible soul, and the unconscious psyche.  We need a faith to restore our capacity to feel, to affect and be affected with the same passionate intensity as our forebears, whose powers of feeling astound us so in the records and art of the past.  The death of affect, to borrow a phrase from JG Ballard, is the true catastrophe of our spectral age, our spiritual Hiroshima.  It makes questions such as whether life’s riddles are answered at the Vatican, in Tibet, or by the Large Hadron Collider utterly meaningless, since it removes the ground we need to pose such questions in the first place.  Neither religion nor science can give us back the ground.  Only the imagination can.  Only art can mend the rupture of the soul and the world, the body and the earth.       

J.F. Martel in Reclaiming Art in the Age of Artifice:  A Treatise, Critique, and Call to Action

Comments are welcome!

Q: What is your favorite thing about creating on sandpaper? (Cassandra Alvarado Oliphant via Instagram)

Ready to start

Ready to start

A:  Undoubtedly, I could not make my work without UART sandpaper since my entire pastel technique evolved around it.   I use 400 and 500 grit.  My favorite thing about it is its ‘tooth’ (i.e. texture or roughness). 

Over the many months I spend creating a painting, I build layer upon layer of soft pastel.  Because this paper is relatively “toothy,” it accepts all of the pastel the painting needs.  And as many people know, I own and use thousands of soft pastels!  

Many layers of soft pastel and several months of studio time go into creating each painting.  My self-invented technique is analogous to the glazing techniques used by the Old Masters, who slowly built up layers of thin oil paint to achieve a high degree of finish.  Colors were not only mixed physically, but optically.  

Similarly, I gradually build up layers of soft pastel, as many as thirty, to create a pastel painting.  After applying a color, I blend it with my fingers and push it into the sandpaper’s tooth.  It mixes with the color beneath to create a new color, continually adding richness, saturation, and intensity to the piece.  By the time a pastel painting is finished, the colors are bold, vibrant, and exciting.

Comments are welcome!           

Pearls from artists* # 364

"White Star," soft pastel on sandpaper, 38" x 58"

“White Star,” 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.

If we are left unmoved by a painting of the Virgin, it is likely because the artist was unmoved in the painting of her.  The subject matter is mostly irrelevant; it is important only as a vehicle for the artist’s attention.  Authenticity comes from how deeply the artist felt.  And this is the key to how much silence, how much consciousness or attention, the art contains.

subject matter, if the artist is even using it, is just an armature for the artist to engage his intensity of feeling.  It is the quality of your attention that influences how you see and how deeply you feel.  Different artists have affinities for different subject matter as a way into expressing themselves deeply.  And that depth is the quality, we, the viewers, respond to.  It is what we continue to respond to over the centuries in great works of art.  The fact that things last, that we continue to admire them, is in the end a good indicator of their quality, of their silence.  Art museums therefore, have little nodes of silence nestling in their galleries.  They are filled with, to use André Malraux’s expression, “the voices of silence.”

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

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Pearls from artists* # 147

Alexandria, Virginia living room

Alexandria, Virginia living room

* 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 working, every day… on new photographs.  This body of work, family pictures, is beginning to take on a life of its own.  Seldom, but memorably, there are times when my vision, even my hand, seems guided by, well, let’s say a muse.  There is at that time an almost mystical rightness about the image:  about the way the light is enfolding, the way the [kids’] eyes have taken on an almost frightening intensity, the way there is a sudden, almost outer-space-like, quiet.

These moments nurture me through the reemergence into the quotidian… through the bill paying and the laundry and the shopping for soccer shoes, although I am finding that I am becoming increasingly distant, like I am somehow living full time in those moments.  

Sally Mann in Hold Still:  A Memoir with Photographs

Comments are welcome!

Q: How do you achieve such richness of color in your pastel-on-sandpaper paintings?

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

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

 

A:  This results from the several months of studio time and many layers of soft pastel that go into creating each painting.  In a sense my technique is analogous to glazing done by the Old Masters.  They slowly built up layers of thin paint to achieve a high degree of finish.  Colors were not mixed physically, but optically.  I gradually build up layers of soft pastel, as many as 30, to create a pastel painting.  After a color is applied, I blend it with my fingers and push it into the sandpaper’s tooth.  It mixes with the color beneath to create a new color, continually adding richness, saturation, and intensity to the overall painting.

Comments are welcome!     

Q: How important is the feedback of your audience? Do you ever think about who will enjoy your Art when you conceive it?

Painting, subject, reference photo

Painting, subject, reference photo

A:  I can’t say that I think at all about audience reaction while I’m creating a painting in my studio.  Although, of course I want people to respond favorably to the work.

Generally, I’m thinking about technical problems – making something that is exciting to look at, well-composed, vibrant, up to my exacting standards, etc.  When I finish a painting, it is the best thing I am capable of making at that moment in time. 

I think about a painting and look at it for so long and with such intensity, that it could hardly have turned out any differently.  There is an inevitability to the whole lengthy process that goes all the way back to when I first laid eyes on the folk art figures in a dusty shop in a third world country.  Looking at a newly-finished painting on my easel I often think, “Of course!  I was  drawn to this figure so that it could serve this unique function in this painting.”

Comments are welcome!                

Pearls from artists* # 44

Studio view

Studio view

* 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 cannot even imagine the individual arts sufficiently distinct from one another.  This admittedly exaggerated attitude might have its most acute origin in the fact that in my youth, I, quite inclined toward painting, had to decide in favor of another art so as not to be distracted.  And thus I made this decision with a certain passionate exclusivity.  Based on my experience, incidentally, every artist needs to consider for the sake of intensity his means of expression to be basically the only one possible while he is producing.  For otherwise he could not easily suspect that this or that piece of world would not be expressible by his means at all and he would finally fall into that most interior gap between the individual arts, which is surely wide enough and could be genuinely bridged only by the vital tension of the great Renaissance masters.  We are faced with the task of deciding purely, each one alone, on his one mode of expression, and for each creation that is meant to be achieved in this one area all support from the other arts is a weakening and a threat.

Ulrich Baer, editor, The Wisdom of Rilke

Comments are welcome!

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