Blog Archives

Q: Is there a pastel painting that you are most proud of?

"She Embraced It and Grew Stronger," soft pastel on sandpaper, 38" x 58," 2003

“She Embraced It and Grew Stronger,” soft pastel on sandpaper, 58″ x 38,” 2003

A:  Without a doubt I am most proud of “She Embraced It and Grew Stronger.” 

After Bryan was killed on 9/11, making art again seemed an impossibility.  When he was alive I would spend weeks setting up and lighting the tableau I wanted to paint.  Then Bryan would shoot two negatives using his Toyo-Omega 4 x 5 view camera.  I would select one and order a 20″ x 24″ reference photo to be printed by a local photography  lab.  

“She Embraced It…” is the first large pastel painting that I created without using a photograph taken by Bryan.  This painting proved that I had learned to use his 4 x 5 view camera to shoot the reference photographs that were (and still are) integral to my process.  My life’s work could continue!

Certainly the title is autobiographical.  ‘She’ in “She Embraced It and Grew Stronger” is me and ‘It’ means continuing on without Bryan and living life for both of us.

Comments are welcome!   

Q: Another interesting series of yours that has impressed me is your recent “Black Paintings.” The pieces in this series are darker than the ones in “Domestic Threats.” You create an effective mix between the dark background and the few bright tones, which establish such a synergy rather than a contrast, and all the dark creates a prelude to light. It seems to reveal such a struggle, a deep tension, and intense emotions. Any comments on your choice of palette and how it has changed over time?

West 29th Street studio

West 29th Street studio

A:  That is a great question!  

You are correct that my palette has darkened. It’s partly from having lived in New York for so long. This is a generally dark city. We famously dress in black and the city in winter is mainly greys and browns.  

Also, the “Black Paintings” are definitely post-9/11 work. My husband, Bryan, was tragically killed onboard the plane that crashed into the Pentagon. Losing Bryan was the biggest shock I ever have had to endure, made even harder because it came just 87 days after we had married. We had been together for 14 ½ years and in September 2001 were happier than we had ever been. He was killed so horribly and so senselessly. Post 9/11 was an extremely difficult, dark, and lonely time.  

In the summer of 2002 I resumed making art, continuing to make “Domestic Threats” paintings. That series ran its course and ended in 2007. Around then I was feeling happier and had come to better terms with losing Bryan (it’s something I will never get over but dealing with loss does get easier with time). When I created the first “Black Paintings” I consciously viewed the background as literally, the very dark place that I was emerging from, exactly like the figures emerging in these paintings. The figures themselves are wildly colorful and full of life, so to speak, but that black background is always there.       

Comments are welcome!     

Q: Can you speak in more detail about how losing your husband, Dr. Bryan C. Jack, on 9/11 affected your artistic practice?

"She Embraced It and Grew Stronger," 2003, 58" x 38", first large pastel-on-sandpaper painting completed after Bryan was killed

“She Embraced It and Grew Stronger,” 2003, 58″ x 38″, first large pastel-on-sandpaper painting completed after Bryan was killed

A:  On September 11, 2001, Bryan, who was a high-ranking, career, federal government employee, a brilliant economist (with an IQ of 180 he is still the smartest man I’ve ever met) and a budget analyst at the Pentagon, was en route to Monterrey, CA to give his monthly guest lecture for an economics class at the Naval Postgraduate College there.  He had the horrible misfortune of flying out of Dulles airport and boarding the plane that was high-jacked and crashed into the Pentagon, killing 189 people.  

Losing him was the biggest shock of my life, devastating in every possible way.  I think about him every day and I continually think about how easily I, too, could have been killed on 9/11.  I had decided not to travel with Bryan to California, a place I absolutely love visiting, only because the planned trip was too short.  His plane crashed directly into my (Navy Reserve) office on the fifth floor, e-ring of the Pentagon.  I still imagine how close we came to Bryan having been killed on the plane and me perishing in the building.  To this  day I believe that I was spared for a reason and I strive to make every day count.

The six months after 9/11 passed by in a blur, except that I vividly remember an October 2001 awards  ceremony at the DAR Hall in Washington, DC.  I was picked up by a big black limousine, sent by the Department of  Defense.  At the ceremony I sat with members of the president’s cabinet.  I accepted the Defense Exceptional Civilian Service Medal for Bryan, an award he would have accepted himself had he been alive, and was addressed face-to-face by George Bush, Jr., not someone I particularly liked (to put it nicely).  Later Bryan was given more awards –  a Presidential Rank Award, a Defense Distinguished Civilian Service Medal, and the Defense of Freedom Medal.  Many other honors came in and I’ll mention two.  Bryan’s hometown of Tyler, Texas named a magnet school after him – Dr. Bryan C. Jack Elementary School (the principal and I cut the ribbon at the opening ceremony) – and Stanford University set up the “Bryan Jack Memorial Scholarship,” which annually helps two deserving students attend Stanford Business School.     

The following summer I was ready to – I HAD to – get back to work so my first challenge was to learn how to use Bryan’s 4 x 5 view camera. In July 2002 I enrolled in a one-week view camera workshop at the International Center of Photography in New York.  Much to my surprise I already knew quite a lot from watching Bryan.  Thankfully, I was soon on my way to working again.  After the initial workshop, I decided to begin with the basics since I had never formally studied photography before. I threw myself into learning this new (to me) medium.  Over the next few years I enrolled in a series of classes at ICP, starting with Photography I.  Along the way I learned to use Bryan’s extensive camera collection (old Leicas, Nikons, Mamiyas, and more) and to make my own large chromogenic prints in the darkroom.  In October 2009 it was extremely gratifying to have my first solo photography exhibition with HP Garcia in New York (please see the exhibition catalogue on the sidebar).  I remember tearing up at the opening as I imagined Bryan looking down at me with his beautiful smile, beaming as he surely would have, so proud of me for having become a photographer.

Comments are welcome!

Q: Your relationship with photography has changed considerably over the years. How did you make use of photography in your first series of pastel-on-sandpaper paintings, “Domestic Threats”?

"Truth Betrayed by Innocence," 2001, 58" x 38", the last pastel painting for which Bryan photographed my setup

“Truth Betrayed by Innocence,” 2001, 58″ x 38″,  the last pastel painting for which Bryan photographed the setup

A:  When my husband, Bryan, was alive I barely picked up a camera, except to photograph sights encountered during our travels. Throughout the 1990s and beyond (ending in 2007), I worked on my series of pastel-on-sandpaper paintings called, “Domestic Threats.”  These were realistic depictions of elaborate scenes that I staged in our 1932 Sears house in Alexandria, Virginia, and later, in a New York sixth floor walk-up apartment, using the Mexican masks, carved wooden animals, and other folk art figures that I found on our trips to Mexico. I staged and lit these setups, while Bryan photographed them using his Toyo-Omega 4 x 5 view camera.  We had been collaborating this way almost from the beginning (we met on February 21, 1986).  Having been introduced to photography by his father at the age of 6, Bryan was a terrific amateur photographer. He would shoot two pieces of 4 x 5 film at different exposures and I would select one, generally the one that showed the most detail in the shadows, to make into a 20 x 24 photograph. The photograph would be my starting point for making the pastel painting. Although I work from life, too, I could not make a painting without mostly looking at a reference photo.  After Bryan was killed on 9/11, I had no choice but to study photography.  Over time, I turned myself into a skilled photographer.

Comments are welcome!