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Q: Your work is unlike anyone else’s. There is such power and boldness in your pastels. What processes are you using to create such poignant and robustly colored work?

Barbara working on an interview. Photo: Maria Cox

Barbara working on an interview. Photo: Maria Cox

A:  For thirty-three years I have worked exclusively in soft pastel on sandpaper.  Pastel, which is pigment and a binder to hold it together, is as close to unadulterated color as an artist can get.  It allows for very saturated color, especially using the self-invented techniques I have developed and mastered. I believe my “science of color” is unique, completely unlike how any other artist works.  I spend three to four months on each painting, applying pastel and blending the layers together to mix new colors on the paper.  

The acid-free sandpaper support allows the buildup of 25 to 30 layers of pastel as I slowly and meticulously work for hundreds of hours to complete a painting.  The paper is extremely forgiving.  I can change my mind, correct, refine, etc. as much as I want until a painting is the best I can create at that moment in time. 

My techniques for using soft pastel achieve rich velvety textures and exceptionally vibrant color.  Blending with my fingers, I painstakingly apply dozens of layers of pastel onto the sandpaper.  In addition to the thousands of pastels that I have to choose from, I make new colors directly on the paper.  Regardless of size, each pastel painting takes about four months and hundreds of hours to complete.  

I have been devoted to soft pastel from the beginning.  In my blog and in numerous interviews online and elsewhere, I continue to expound on its merits.  For me no other fine art medium comes close. 

My subject matter is singular.  I am drawn to Mexican, Guatemalan, and Bolivian cultural objects—masks, carved wooden animals, papier mâché figures, and toys.  On trips to these countries and elsewhere I frequent local mask shops, markets, and bazaars searching for the figures that will populate my pastel paintings.  How, why, when, and where these objects come into my life is an important part of the creative process.  Each pastel painting is a highly personal blend of reality, fantasy, and autobiography.

Comments are welcome!

Q: Can you talk a little bit about your process? What happens before you even begin a pastel painting?

Barbara in Bali (far right)

Barbara in Bali (far right)

A:  My process is extremely slow and labor-intensive. 

First, there is foreign travel – often to Mexico, Guatemala or someplace in Asia – to find the cultural objects – masks, carved wooden animals, paper mâché figures, and toys – that are my subject matter.  I search the local markets, bazaars, and mask shops for these folk art objects. I look for things that are old, that look like they have a history, and were probably used in religious festivals of some kind. Typically, they are colorful, one-of-a- kind objects that have lots of inherent personality. How they enter my life and how I get them back to my New York studio is an important part of my art-making practice. 

My working methods have changed dramatically over the nearly thirty years that I have been an artist. My current process is a much simplified version of how I used to work.  As I pared down my imagery in the current series, “Black Paintings,” my creative process quite naturally pared down, too. 

One constant is that I have always worked in series with each pastel painting leading quite naturally to the next.  Another is that I always set up a scene, plan exactly how to light and photograph it, and work with a 20″ x 24″ photograph as the primary reference material. 

In the setups I look for eye-catching compositions and interesting colors, patterns, and shadows.  Sometimes I make up a story about the interaction that is occurring between the “actors,” as I call them.

In the “Domestic Threats” series I photographed the scene with a 4″ x 5″ Toyo Omega view camera.  In my “Gods and Monsters” series I shot rolls of 220 film using a Mamiya 6. I still like to use an old analog camera for fine art work, although I have been rethinking this practice.   

Nowadays the first step is to decide which photo I want to make into a painting (currently I have a backlog of photographs to choose from) and to order a 19 1/2″ x 19 1/2″ image (my Mamiya 6 shoots square images) printed on 20″ x 24″ paper.  They recently closed, but I used to have the prints made at Manhattan Photo on West 20th Street in New York.  Now I go to Duggal.  Typically I have in mind the next two or three paintings that I want to create.

Once I have the reference photograph in hand, I make a preliminary tonal charcoal sketch on a piece of white drawing paper.  The sketch helps me think about how to proceed and points out potential problem areas ahead. 

Only then am I ready to start actually making the painting. 

Comments are welcome!    

Q: How long does it take you to complete a pastel-on-sandpaper painting?

Barbara's studio

Barbara’s studio

A:  Mine is a slow and labor-intensive process.  First, there is foreign travel to find the cultural objects – masks, carved wooden animals, paper mâché figures, and toys – that are my subject matter.  If they are heavy I ship them home.  

Next comes planning exactly how to photograph them, lighting and setting everything up, and shooting a roll of 220 film with my Mamiya 6 camera.  I still like to use an analog camera for my fine art work, although I am rethinking this.  I have the film developed, decide which image to use, and order a 20” x 24” reference photograph from Manhattan Photo on West 20th Street.  

Then I am ready to start.  I work on each pastel-on-sandpaper painting for approximately three months.  I am in my studio 7 to 8 hours a day, five days a week.  During that time I make thousands of creative decisions as I apply and layer soft pastels (I have 8 tables-worth to choose from!), blend them with my fingers, and mix new colors directly on the sandpaper.  A finished piece consists of up to 30 layers of soft pastel.  My self-invented technique accounts for the vivid, intense color that often leads viewers of my originals to look very closely and ask, “What medium is this?”  I believe I am pushing soft pastel to its limits, using it in ways that no other artist has done.

Comments are welcome!

Q: Are you close to finishing any pastel paintings?

"Absencee" not quite finished

“Absence” not quite finished

A: I’m putting finishing touches on a small one, “Absence,” which is 26″ x 20″ unframed. It depicts paper mache figures that I bought some years ago in Oaxaca and Mexico City. I added those two blue and white “volcano” shapes on the left after my recent trip to Bali. Check out the dust (and torn pastel wrappers) on the easel. That’s what inspired the name of my blog.

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