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Pearls from artists* # 468

Barbara’s Studio

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

Why does art elicit such different reactions from us? How can a work that bowls one person over leave another cold? Doesn’t the variability of the aesthetic feeling support the view that art is culturally determined and relative? Maybe not, if we consider the possibility that the artistic experience depends not on some subjective mood but on an individually acquired (hence variable) power to be affected by art, a capacity developed through one’s culture in tandem with one’s unique character. For evidence of this we can point to works that seem to ignore cultural boundaries altogether, affecting people of different backgrounds in comparable ways even though a specific articulation of their personal responses continues to vary. Consider the plays of William Shakespeare or Greek theater, or the fairy tales that have sprung up in similar forms on every continent. We could not be further removed from the people who painted in the Chauvet Cave, nor could we be more oblivious as to the significance they ascribed to their pictures. Yet their work affects us across the millennia. Everyone responds to them differently, of course, and the spirit in which people are likely to receive them now probably differs significantly from how it was at the beginning. But these permutations revolve around a solid core, something present in the images themselves.

J.F. Martel in Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action

Comments are welcome!

Pearls from artists* # 363

Thar Desert, Rajasthan, India

Thar Desert, Rajasthan, India

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

Beauty seems to need quiet and take patience, both to create it and to experience it.

If our minds are filled with a long and urgent “to do” list, we are not likely to slow down enough to appreciate anything but the next line we can draw through our never-ending list.  Yet every now and again something stops us. It arrests our constant external activity and search.  We can be stopped by the way the light filters through the trees in our backyard or hits a bowl of fruit on our kitchen table.  And we are silenced, even if momentarily.  We can be stopped by cave paintings as easily as by a thirteenth-century tapestry or a fifteenth-century Italian painting.  We may be impressed by the craft of the artist, but almost always what moves us most deeply is the beauty that is expressed by the craft.

In the face of beauty, we are silenced because beauty expresses silence.  In lavishing attention on the object of the artwork, the consciousness of the artist can touch something divine, some transcendental quality, and that transcendent element now resides in the artwork.  How do we know it?  We feel it. We experience it.  Our heart responds to that sublime quality the artist infused into the work.

Ian Roberts in Creative Authenticity:  16 Principles to Clarify and Deepen Your Artistic Vision

Comments are welcome!

Q: Would you speak about the meaning of your work and the different materials you use?

About half of Barbara’s pastels

About half of Barbara’s pastels

A:  It is as difficult to explain the meaning of my art as it is to interpret the meaning of life!  I am invested in and concerned with process:  foreign travel, prodigious reading, devotion to craft, months of slow meticulous work in the studio trying to create an exciting work of art that has never been seen before, etc.  I love making pastel paintings!  Many years ago I challenged myself to push the limits of what soft pastel can achieve.  I am still doing so.

I leave it to others – viewers, arts writers, critics, art historians – to study my creative journey and talk about meanings.  I believe an artist is inspired to create and viewers ponder the creation.  I would not presume to tell anyone how to react to my work.

For many years I have been devoted to promoting soft pastel as a fine art medium.  There are excellent reasons it has been around for five hundred years!  It is the most permanent of media. There’s no liquid binder to cause oxidizing or cracking over time, as happens with oil paint.  Pastel colors are intense because they are close to being pure pigment.  Pastel allows direct application (no brushes) with no drying time and no color changes.

I use UArt acid-free sandpaper.  This is not sandpaper from a hardware store.  It is made for artists who work in pastel and allows me to build up layers of pigment without using a fixative.  My process – slowly applying and layering pastels, blending and mixing new colors directly on the paper, making countless adjustments, searching for the best and/or most vivid colors – continually evolves.  Each pastel painting takes months to create.

Comments are welcome!

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