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Q: What do you enjoy most about being an artist?

With “Majordomo,” soft pastel on sandpaper, 20” x 26”

With “Majordomo,” soft pastel on sandpaper, 20” x 26”

A: This is a question I enjoy revisiting every so often because life as an artist does not get easier; just the opposite, in fact.  Visual artists tend to be “one man bands.”  We do it all notwithstanding the fact that everything gets harder as we get older.  So it’s good to be reminded about what makes all the sacrifice and hard work worthwhile.

There are so many things to enjoy!  I make my own schedule, set my own tasks, and follow new interests wherever they may  lead.  I am curious about everything and am rarely bored.  I continually push my pastel technique and strive to become a better artist.  There is still so much to learn!  

My relationship with collectors is another perk.  I love to see pastel paintings hanging on collectors’ walls, especially when they’re newly installed and the owners are excited to take possession.  This means that the piece has found a good home, that years of hard work have come full circle!  And it’s often the start of a long friendship.  After living with my pastel paintings for years, collectors tell me they see new details never noticed before and they appreciate the work more than ever.  It’s extremely gratifying to have built a network of supportive art-loving friends around the country.  I’m sure most artists would say the same!

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!           

Q: You have spoken about your pastel technique, which involves layering pigments on top of each other, up to 25 to 30 layers. When you do this are you putting the same colors on top of each other?

 

An early version of "Oracle," 26" x 20"

An early version of “Oracle,” soft pastel on sandpaper, 26″ x 20″

Finished

Finished

A:  I do layer Rembrandt black soft pastels on top of each other to achieve the dark backgrounds in my “Black Paintings” and “Bolivianos” series.  Black Rembrandts are the pastels I use most so I order them several dozen at a time.  The 400 or 500 grit sandpaper requires at least four layers of pastel just to achieve even coverage.  Over the next few months I add many more layers of black pastel to achieve the final rich look.

The figures and shapes in each pastel painting are a different  story.  Were you to x-ray them, you’d see many different colors underneath the final one.  Sometimes subsequent colors are closely related to earlier ones.  With each additional layer, I correct, refine, and strengthen my drawing so the objects depicted become more solid and/or three-dimensional.

In addition to the thousands of pastels I have to choose from, I mix and blend new colors directly on the sandpaper.  As I proceed, I am searching for the ‘best’ colors, those that make the overall painting more resonant, more alive, and more exciting to look at.  Of course, this is wholly subjective.

Comments are welcome!        

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