Blog Archives

Q: Is your work fast or is it slow?

Barbara's studio

Barbara’s studio

A:  I work extremely slowly.  I’m a full-time artist and I spend three or four months on each pastel painting, sometimes longer if it’s an especially difficult piece.  

I generally have two pastel paintings in progress and switch off when one is causing problems.  The paintings tend to interact and influence each other.  Having two in progress helps me resolve difficult areas quicker, plus when one is finished, I still have something to work on.  So there’s rarely any dead time in my studio.

Comments are welcome!

Q: Would you speak about how important it was to get back to work after losing your husband on 9/11?

"She Embraced It and Grew Stronger," 2002, the first pastel painting I completed after Bryan was killed

“She Embraced It and Grew Stronger,” 2003, the first pastel painting I completed after Bryan was killed

A:  On September 11, 2001, my husband Bryan, a high-ranking 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.  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 Bryan was the biggest shock of my life and devastating in every possible way.

The following summer I was ready to – I HAD to – get back to work.  Learning about photography and pastel painting became avenues to my well-being.  I use reference photos for my paintings, so my first challenge was to learn how to use Bryan’s 4 x 5 view camera (Bryan always took these reference photos for me).

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 had already acquired substantial technical knowledge from watching Bryan.  Still, after the initial workshop, I threw myself into this new medium and continued studying photography at ICP for several years.  I began with Photography I and enrolled in many more classes until I gradually learned how to use Bryan’s extensive camera collection, to properly light my setups, and to print large chromogenic photographs in a darkroom.

In October 2009 it was very gratifying to have my first solo photography exhibition with HP Garcia in New York. (Please see http://barbararachko.art/images/PDFS/BarbaraRachko-HPGargia.pdf).  I vividly 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 respected photographer.

Continuing to make art had seemed an impossibility after Bryan’s death.  However, the first large pastel painting that I created using a self-made reference photograph proved my life’s work could continue.  The title of that painting, “She Embraced It and Grew Stronger,” is certainly autobiographical.  “She” is me, and “it” means continuing on without Bryan and living life for both of us.

Comments are welcome!

 

Q: What’s on the easel today?

Work in progress

Work in progress

A:  I am continuing work on “The Orator,” 38″ x 58,” the second pastel painting in my new “Bolivianos” series.

Comments are welcome!

Q: Would you comment on the origin of the title for your photographic series, “Gods and Monsters”?

Untitled c-print, 24" x 24" edition of 5

Untitled c-print, 24″ x 24″ edition of 5

A:  My title is borrowed directly from a 2001 catalogue essay by the late art critic, Gerritt Henry.  The essay was about my first pastel painting series (“Domestic Threats”) and it’s called, “Barbara Rachko:  Gods and Monsters.”  

Among other shared interests, Gerritt and I both loved old Frankenstein movies from the 1940s.  Around 1998 interest in James Whale, who had directed the original films, was riding high thanks to an Oscar-winning biopic about his last days in Hollywood.  The film was called, “Gods and Monsters.”  The title was taken from a line in “Bride of Frankenstein,” in which Dr. Pretorius toasts Dr. Frankenstein saying, “To a new world of gods and monsters.”

My photographic series came after “Domestic Threats” and some years after Gerritt’s essay was published.  When I was searching for a title for the photos, “Gods and Monsters” seemed a perfect fit!

Comments are welcome!  

Q: What’s on the easel today?

Work in progress

Work in progress

A:  I’m working on a large pastel painting based on a photograph shot when I was vacationing recently in La Paz, Bolivia.  How fortuitous to stumble upon a mask exhibition at The National Museum of Ethnography and Folklore!  It felt as though the exhibition somehow was staged for me, just waiting for me to come along and photograph it. 

Incredibly, I returned to New York, after a spectacular trip to Bolivia, and found myself with photographs that are inspiring a new series.  Certainly this has never happened before!  The series is tentatively called, “Bolivianos.”             

Comments are welcome!

Q: How can you tell with certainty when a pastel painting is finished?

“Poker Face,” soft pastel on sandpaper, 38″ x 58″

A:  For me a work is finished when to add or subtract some element causes the composition to diminish or somehow weaken.  It’s mostly a matter of where I want viewers to look and how I decide to lead their eyes around a painting.

I work on each piece for several months so that by the time it’s nearly done, I can no longer see flaws.  I put it aside for a week or two.  Then I pull it out again, turn it upside down, and any details that need improving become obvious.  Once I fix them, I know the painting is finally finished and ready to be signed, photographed, and delivered to my framer.

Comments are welcome!

         

Q: What’s on the easel today?

Work in progress

Work in progress

A: I’m putting finishing touches on a small, 20″ x 26,” pastel painting called, “Survivors.”

Comments are welcome! 

Q: What’s on the easel today?

Work in progress

Work in progress

A:  I continue working on a large, 38″ x 58″, pastel painting called, “Conundrum” and am happy with how it’s progressing.  A few days ago I added the small triangle to the right of the central figure.  I felt some compositional element was needed there and believe this is an improvement.

Comments are welcome! 

Q: Pastel painting is the cornerstone of your practice. What attracted you to this medium?

Barbara's studio with "White Star" in progress

Barbara’s studio with “White Star” in progress

A:  For starters soft pastel is the medium that I fell in love with many years ago.  I am fond of this article, “What is Pastel?” by Mike Mahon, and quote it here because it neatly sums up what I love about working with pastel.

Pastel is the most permanent of all media when applied to conservation ground and properly framed. Pastel has no liquid binder that may cause it to oxidize with the passage of time as oftentimes happens with other media.

In this instance, Pastel does not refer to pale colors, as the word is commonly used in cosmetic and fashion terminology. The pure, powdered pigment is ground into a paste with a minimum amount of gum binder, rolled into sticks and dried. The infinite variety of colors in the Pastel palette range from soft and subtle to hard and brilliant.

An artwork is created by stroking the stick of dry pigment across an abrasive ground, embedding the color in the “tooth” of the ground. If the ground is completely covered with Pastel, the work is considered a Pastel painting; whereas, leaving much of the ground exposed produces a Pastel sketch. Techniques vary with individual artists. The Pastel medium is favored by many artists because it allows a spontaneous approach. There is no drying time, therefore, no change in color occurs after drying as it does in other media.

Did you know that a particle of Pastel pigment seen under a microscope looks like a diamond with many facets? It does! Therefore, Pastel paintings reflect light like a prism. No other medium has the same power of color or stability.

Historically, Pastel can be traced back to the 16th century. Its invention is attributed to the German painter, Johann Thiele. A Venetian woman, Rosalba Camera, was the first to make consistent use of Pastel. Chardin did portraits with an open stroke, while La Tour preferred the blended finish. Thereafter, a galaxy of famous artists—Watteau, Copley, Delacroix, Millet, Manet, Renoir, Toulouse Lautrec, Vuillard, Bonnard, Glackens, Whistler, Hassam, William Merritt Chase—used Pastel for a finished work rather than for preliminary sketches.

Pastels from the 16th century exist today, as fresh as the day they were painted. Edgar Degas was the most prolific user of Pastel and its champion. His protégé, Mary Cassat, introduced Pastel to her friends in Philadelphia and Washington, and thus to the United States. In the Spring of 1983, Sotheby Parke Bernet sold at auction, two Degas Pastels for more than $3,000,000 each! Both Pastels were painted about 1880.

Note: Do not confuse Pastel with “colored chalk.” Chalk is a porous, limestone substance impregnated with dyes, whereas, Pastel is pure pigment—the same as is used in other permanent painting media. Today, Pastel paintings have the stature of oil and watercolor as a major fine art medium. Many of our most renowned, living artists have distinguished themselves in Pastel and have enriched the art world with this beautiful medium.

So knowing all this, I often wonder, why don’t more artists use pastel?  Is it because framing is a big expense? 

Works on paper need to be framed and pastel paintings do have some unique problems.  Third after the cost of maintaining a studio in New York City and marketing, frames are my single largest business expense.  Sometimes I am grateful that pastel is a very slow medium.  I typically finish 4 or 5 paintings in a year, which means I only have to pay for 4 or 5 frames.

Comments are welcome!

 

Q: What’s on the easel today?

Work in progress

Work in progress

A:  I am working on a small 20″ x 26″ pastel painting that doesn’t have a title yet.

Comments are welcome!