Blog Archives

My blog turns 5 years old today! 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?

Barbara's Studio

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! 

 

If you were to visit my studio now, you would see more tables chock full of pastels and notice other changes from the photo above.  Most importantly though, what I wrote five years ago still rings true! 

Comments are welcome!     

Pearls from artists* 178

Barbara's studio with recent works in progress

Barbara’s studio with recent works in progress

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

Most individuals have never had enough time, and they’ve never had enough resources, and they’ve never had enough support or patronage or reward… and yet they still persist in creating.  They persist because they care.  They persist because they are called to be makers, by any means necessary.

…The essential ingredients for creativity remain exactly the same for everybody:  courage, enchantment, permission, persistence, trust – and those elements are universally accessible.  Which does not mean that creative living is always easy; it merely means that creative living is always possible.  

Elizabeth Gilbert in Big Magic:  Creative Living Beyond Fear  

Comments are welcome! 

 

Q: Another interesting series of yours that has impressed me is your recent “Black Paintings.” The pieces in this series are darker than the ones in “Domestic Threats.” You create an effective mix between the dark background and the few bright tones, which establish such a synergy rather than a contrast, and all the dark creates a prelude to light. It seems to reveal such a struggle, a deep tension, and intense emotions. Any comments on your choice of palette and how it has changed over time?

West 29th Street studio

West 29th Street studio

A:  That is a great question!  

You are correct that my palette has darkened. It’s partly from having lived in New York for so long. This is a generally dark city. We famously dress in black and the city in winter is mainly greys and browns.  

Also, the “Black Paintings” are definitely post-9/11 work. My husband, Bryan, was tragically killed onboard the plane that crashed into the Pentagon. Losing Bryan was the biggest shock I ever have had to endure, made even harder because it came just 87 days after we had married. We had been together for 14 ½ years and in September 2001 were happier than we had ever been. He was killed so horribly and so senselessly. Post 9/11 was an extremely difficult, dark, and lonely time.  

In the summer of 2002 I resumed making art, continuing to make “Domestic Threats” paintings. That series ran its course and ended in 2007. Around then I was feeling happier and had come to better terms with losing Bryan (it’s something I will never get over but dealing with loss does get easier with time). When I created the first “Black Paintings” I consciously viewed the background as literally, the very dark place that I was emerging from, exactly like the figures emerging in these paintings. The figures themselves are wildly colorful and full of life, so to speak, but that black background is always there.       

Comments are welcome!     

Q: How do you organize your studio?

Barbara's studio

Barbara’s studio

A:  Of course, my studio is first and foremost set up as a work space.  The easel is at the back and on either side are two rows of four tables, containing thousands of soft pastels.

Enticing busy collectors, critics, and gallerists to visit is always difficult, but sometimes someone wants to make a studio visit on short notice so I am ready for that.  I have a selection of framed recent paintings and photographs hanging up and/or leaning against a wall.  For anyone interested in my evolution as an artist, I maintain a portfolio book with 8″ x 10″ photographs of all my pastel paintings, reviews, press clippings, etc.  The portfolio helps demonstrate how my work has changed during my nearly three decades as a visual artist.  

Comments are welcome!