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Pearls from artists* # 256

"Offering," soft pastel on sandpaper, 20" x 26"

“Offering,” soft pastel on sandpaper, 20″ x 26″

* 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 saw what skill was needed, and persistence – how one must bend one’s spine, like a hoop, over the page – the long labor.  I saw the difference between doing nothing, or doing a little, and the redemptive act of true effort.  Reading, then writing, then desiring to write well, shaped in me the most joyful of circumstances – a passion for work.    

Mary Oliver in Upstream: Selected Essays

Comments are welcome!

Q: Why don’t you teach or conduct pastel workshops?

Barbara in her studio

Barbara in her studio

A:  I am often asked to teach, but I never have had the desire to do so.  Because my work is extremely labor intensive, I am reluctant to give up precious studio time, either for teaching or for any activities that could be deemed a distraction.  Consistent in my creative practice, I typically work in my studio five days a week, seven or more hours a day and am able to complete four or five pastel-on-sandpaper paintings in a year.     

Teaching would divert time, attention, and energy away from my practice.  Certainly it can be rewarding in many ways but since my process is slow and meticulous, I prefer to focus on making new work.  

Comments are welcome!       

Pearls from artists* # 103

Quemado, NM

Quemado, 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.

There are times when the art-maker’s solitude feels mildly pleasant, or deeply pleasurable, or even blissful.  Many people refer to Mihaly Czikszentmihalyi’s concept of “flow” as their experience of art-making – that state of being in which one is focused and concentrated, removed from time, energized, and not lonely at all.  But flow happens most readily when the task is not too frustrating, and when the obstacles feel manageable.  I feel flow more readily when the writing is going well than when I’m trying to wrangle with some thorny bit of it.  Then I feel unflow and, sometimes, too alone with the labor and very glad to have fond people close at hand in my life and in my memory.

Janna Malamud Smith in An Absorbing Errand:  How Artists and Craftsmen Make Their Way to Mastery

Comments are welcome!