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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

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!

Posted in An Artist's Life, Creative Process, Inspiration, Pastel Painting, Source Material, Working methods

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My blog turns 7 years old on July 15! Here is the very first post from July 15, 2012. Q: What does it take to be an artist, especially one living and working in New York?

Jul 13

Posted by barbararachkoscoloreddust

Barbara’s Studio with works in progress.

A: The three Big P’s – Patience, Persistence, and Passion. Without all three you will not have the stamina to work tirelessly for very little external reward. You can expect help from no one.

There are so many obstacles to art-making and countless reasons to just give up. When you really think about it, it’s amazing that great art gets made at all. So why do we do it? Above all it’s about making our time on earth matter, about devotion to our innate gifts and love of our hard-fought creative process.

And, my God, it even gets harder as we get older! So what do we do? We dig in that much deeper. It’s a most noble and sacred calling – you know when you have it – and that’s what separates those of us who are in it for the long haul from the wimps, fakers, and hangers-on. I say to my fellow artists who continue to work despite the endless challenges, we are all true heroes!

__________

Lucky me to still be in the same studio! However, when you visit now, you see more tables full of pastels, more postcards on the walls, newer pastel paintings, etc. What I wrote seven years ago still rings true.

Most importantly, THANK YOU to my 42,000+ subscribers for taking this journey with me!

Comments are welcome!

Posted in An Artist's Life, Art in general, Art Works in Progress, Black Paintings, Creative Process, Inspiration, New York, NY, Painting in General, Pastel Painting, Photography, Quotes, Studio, The West Village, Working methods

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Pearls from artists* # 356

Jun 12

Posted by barbararachkoscoloreddust

Some of Barbara’s pastels

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Science is concerned with the general, the abstract, and the knowable. In contrast, art deals with the particular, the unknowable, the singular. This applies not just to the content of artistic works but also to the way this content is received. Even in the case of a film or concert attended by large numbers of people, the artistic experience remains a fundamentally solitary one. Each one of us lives the work from the work alone. Whatever sense of togetherness accompanies the experience comes precisely from the fact that, faced with the singularity of the aesthetic moment, each percipient feels his aloneness before the radical mystery that enfolds us all. Wherever an act of creation is shared with others, then, there is individuation – not just for the author of the work but for the audience too. The singularity of art awakens us to our own singularity, and through it to the singularity in the Other. I have argued that artifice unifies by imposing a univocal image that replicates itself indefinitely in each spectator. True art tears the spectral out of the mass of sameness, calling forth from the numberless crowd a new people and a new communion.

Reclaiming Art in the Age of Artifice: A treatise, Critique, and Call to Action

Comments are welcome!

Posted in Art in general, Inspiration, Pastel Painting, Pearls from Artists, Quotes, Studio

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Q: What made you fall in love with soft pastel versus another medium?

Apr 13

Posted by barbararachkoscoloreddust

“The Champ” in “Worlds Seen & Unseen” at Westbeth Gallery, NYC

A: I like to get my hands right into my work. In other words, I don’t like brushes or anything else to intervene between my hands and what I’m working on.

I work with 400 or 500 grit Uart sandpaper so the downside is that I rub my fingertips raw from blending layers of soft pastel onto sandpaper. I’ve tried using rubber gloves (they make my fingers sweat and wear out fast), cotton gloves (they leave bits of lint on the paper), using a blending stump (it leaves lint on the paper), etc., but nothing works as well as my own fingers. So sore fingertips are an unavoidable occupational hazard. I sometimes take days off from the studio just so that my hands can heal.

I adore color and love looking at the thousands of pastels in my studio! After working with this medium for more than thirty years, I still love what I am able to accomplish and I am still pushing it to do new things. The colors are rich, intense, velvety. No other medium is as sensuous or as satisfying.

Comments are welcome!

Posted in An Artist's Life, Inspiration, New York, NY, Pastel Painting, Studio

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Pearls from artists* # 305

Jun 20

Posted by barbararachkoscoloreddust

About half of Barbara’s pastels

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

When asked to talk about what I do, I’ve often compared writing with handicrafts – weaving, pot-making, woodworking. I see my fascination with the word as very like, say, the fascination with wood common to carvers, cabinetmakers – people who find a fine piece of old chestnut with delight, and study it, and learn the grain of it, and handle it with sensuous pleasure, and consider what’s been done with chestnut and what you can do with it, loving the wood itself, the mere material, the stuff of their craft.

Ursula K. Le Guin in No Time to Spare: Thinking About What Matters

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Posted in An Artist's Life, Inspiration, Pearls from Artists, Quotes, Studio

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Q: What personality traits do you possess that have been most helpful in your art career?

Dec 31

Posted by barbararachkoscoloreddust

A few of Barbara’s pastels

A: I suppose it’s curiosity about all sorts of things, but particularly about the creative process. I am forever curious about how my personal creative process might evolve and develop and where it might possibly lead. Making art is an ongoing source of discovery. The longer I am an artist, the richer the whole experience becomes.

Also, I possess an unwavering love of craft. Even after thirty years, I still enjoy experimenting with new pastels, pushing myself to use them in new ways, and endeavoring to create the best work I can.

Comments are welcome!

Posted in An Artist's Life, Creative Process, Studio, Working methods

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Pearls from artists* # 202

Jun 29

Posted by barbararachkoscoloreddust

Soft pastels

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

When you’re working on something, you always wonder, “Can I get away with this? Is it working?” It’s the space between that I’ve been interested in for a long time. I think that when I started to make, say, a triptych that came from an observation of a little Picasso drawing, the spaces in between became as important as the three actual pieces. It’s especially true of the Wallpaper piece. But most of the changes in my own work really evolve from one piece to the next: from looking at my own work, the works of others, and things in my studio. It happens when you see something that you didn’t see previously, like those scraps of clay that became the wall pieces. It’s similar to the space that I’ve explored for years and years between artist and craftsperson, which is both interesting and challenging, and I don’t think that one thing is inferior to the other. Each has a different goal, a different function. Its my responsibility how nd where my work is viewed in different contexts.

In Conversation: Betty Woodman with Phong Bui, The Brooklyn Rail, April 2016

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Posted in An Artist's Life, Art in general, Creative Process, Inspiration, Pearls from Artists, Photography, Quotes, Studio, Working methods

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Pearls from artists* # 109

Sep 17

Posted by barbararachkoscoloreddust

A few of Barbara’s pastels

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

A BOX OF PASTELS

I once held on my knees a simple wooden box

in which a rainbow lay dusty and broken.

It was a set of pastels that had years before

belonged to the painter Mary Cassatt,

and all of the colors she’d used in her work

lay open before me. Those hues she’d most used,

the peaches and pinks, were worn down to stubs,

while the cool colors – violet, ultramarine –

had been set, scarcely touched, to one side.

She’d had little patience with darkness, and her heart

held only a measure of shadow. I touched

the warm dust of those colors, her tools,

and left there with light on the tips of my fingers.

Ted Kooser in Art and Artists: Poems, edited by Emily Fragos

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Posted in An Artist's Life, Creative Process, Inspiration, Pastel Painting, Pearls from Artists, Photography, Quotes, Studio, Working methods

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Pearls from artists* # 89

Apr 30

Posted by barbararachkoscoloreddust

Some of Barbara’s pastels

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Dear Diary:

On a drifty Manhattan stroll
The kind that unearths magical treasures
I made a right turn off of Houston
Onto Bowery
And as it became Third Avenue
I came upon this old art store
That creaked hello
Its warped wooden shelves
Held new paints
A little dusty from the old building
But whose colors were deeper
Than I’d ever seen before

And at the back of the store
Up a narrow stairway
Was a tiny room
And behind a long table stood three people
(Probably artists)
Who could get me any paper I desired
Paper with designs
To collage with
Hot press, cold press
100 gram, 600 gram paper
To draw and paint on
Any kind of paper I’d ever want
Templates from heaven

And over my right shoulder
Was a tall window
Overlooking the glorious city
That has held this little room
Tenderly in its arms
All these years

And as I hugged
My rolled up package of paper
And went back downstairs
The old stairs seemed to gently whisper
“Come back soon,
We’ll keep each other alive”

And stepping outside
Third Avenue seemed more spacious
And I took a deep breath
As the world
Kaleidoscoped
With possibilities
Lovingly wrapped up
By three kind artists
At the top of the world.

“Art Supplies From Heaven,“ by Judith Ellen Sanders, published in “Metropolitan Diary,” NY Times, April 6, 2014

Comments are welcome!

Posted in An Artist's Life, Art in general, Creative Process, Inspiration, New York, NY, Painting in General, Pastel Painting, Pearls from Artists, Photography, Quotes, Studio, Working methods

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Q: Why do you have so many pastels?

Nov 24

Posted by barbararachkoscoloreddust

Barbara’s pastels

A: Our eyes can see infinitely more colors than the relative few that are made into pastels. When I layer pigments onto the sandpaper, I mix new colors directly on the painting. The short answer is, I need lots of pastels so that I can make new colors.

I’ve been working exclusively with soft pastel for nearly 27 years. Whenever I feel myself getting into a rut in how I select and use my colors, I look around for new materials to try. I’m in one of those periods now and plan to buy soft pastels made by Henri Roché in Paris. (Not long ago I received a phone call from their artist’s liaison and was offered samples based on my preferences. Wow, what great colors!). Fortunately, new brands of soft pastels are continually coming onto the market. There are pastels that are handmade by artists – I love discovering these – and new ones manufactured by well-known art supply companies. Some sticks of soft pastel are oily, some are buttery, some more powdery, some crumble easily, some are more durable. Each one feels distinct in my hand.

Furthermore, they each have unique mixing properties. It’s an under-appreciated science that I stumbled upon (or maybe I invented it, I’m not sure since I can’t know on a deep level how other pastel painters work). In this respect soft pastel is very different from other paint media. Oil painters, for example, need only a few tubes of paint to make any color in the world. I don’t go in much for studying color theory as a formal discipline. If you want to really understand and learn how to use color, try soft pastel and spend 10,000+ hours (the amount of time Malcolm Gladwell says, in his book, “Outliers,” that it takes to master a skill) figuring it all out for yourself!

Comments are welcome.

Posted in Art in general, Creative Process, Pastel Painting, Studio, Working methods

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barbararachkoscoloreddust.com

Barbara Rachko is a New York Visual Artist, Blogger, and Author who is revolutionizing the use of Soft Pastel in fine art.

Blog Archives

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?

My blog turns 7 years old on July 15! Here is the very first post from July 15, 2012. Q: What does it take to be an artist, especially one living and working in New York?

Pearls from artists* # 356

Q: What made you fall in love with soft pastel versus another medium?

Pearls from artists* # 305

Q: What personality traits do you possess that have been most helpful in your art career?

Pearls from artists* # 202

Pearls from artists* # 109

Pearls from artists* # 89

Q: Why do you have so many pastels?

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Barbara Rachko is a New York Visual Artist, Blogger, and Author who is revolutionizing the use of Soft Pastel in fine art.

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