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

 

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

“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!

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!

Q: Do your materials have properties that allow you to maximize what you depict in your work?

Barbara’s studio

Barbara’s studio

A:  I work exclusively in soft pastel on sandpaper.  Pastel, which is pigment and a binder to hold it together, is as close to unadulterated pigment as an artist can get.  It allows for very saturated color, especially as I utilize the self-invented techniques developed and mastered over more than thirty years as an artist.  I believe my “science of color” to be unique, completely unlike how any other artist works.  I spend three or four months on each painting, applying pastel and blending the layers together to mix new colors directly on the paper.  

The sandpaper support allows the build up 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.

Comments are welcome!

Pearls from artists* # 296

"Offering," soft pastel on sandpaper, 20" x 26"

“Offering,” soft pastel on sandpaper, 20″ x 26″

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

Meaning in art isn’t the same as meaning in science.  The meaning of the second law of thermodynamics, so long as the words are understood, isn’t changed by who reads it,or when, or where.  The meaning of Huckleberry Finn is. 

Writing is a risky business.  No guarantees.  You have to take the chance.  I’m happy to take it.  I love taking it.  So my stuff gets misread, misunderstood, misinterpreted – so what?  If it’s the real stuff, it will survive almost any abuse other than being ignored, disappeared, not read.      

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

Comments are welcome!

Pearls from artists* # 284

"The Magical Other," soft pastel on sandpaper, 48" x 38"

“The Magical Other,” soft pastel on sandpaper, 48″ x 38″

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

We can do anything, or almost, but how balanced, magnanimous, and modest one has to be to do anything!  And also how patient.  It is as true in the arts as anywhere else.

So… to work.  It is not a non sequitur.  I shall never be one of those directly active (except as a teacher, occasionally), but now and then I am made aware that my work, odd though it seems, does help people.  But it is only in these last years at Nelson that I have known that for sure.   

May Sarton in Journal of a Solitude:  The intimate diary of a year in the life of a creative woman   

Comments are welcome!

Pearls from artists* # 282

"The Champ," soft pastel on sandpaper, 26" x 20"

“The Champ,” soft pastel on sandpaper, 26″ x 20″

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

The longstanding, at one time almost universal, dismissal of one of the greatest artists of the twentieth century as essentially decorative and superficial is based, at any rate in part, on a simplistic response to the poise, clarity and radiant colour of Matisse’s work that fails to take account of the apprehensive and at times anguished emotional sensibility from which it sprang.

Hilary Spurling in Matisse the Master, A Life of Henri Matisse:  The Conquest of Colour, 1909 – 1954  

Comments are welcome!

Q: Would you share your current elevator pitch?

Barbara’s studio

Barbara’s studio

A:  Here it is:

I live in New York and have been a working artist for more than thirty years.  I create original pastel paintings that use my large collection of Mexican and Guatemalan folk art – masks, carved wooden animals, papier mache figures, and toys – as subject matter.  

Blending with my fingers, I spend months painstakingly applying dozens of layers of soft pastel onto acid-free sandpaper.  My self-invented technique achieves extraordinarily rich, vibrant color and results in paintings that uniquely combine reality, fantasy, and autobiography.

My background is extremely unusual for an artist.  I am a pilot, a retired Navy Commander, and a 9/11 widow.  Besides making art, I am a published author and blogger best known for my eBook, “From Pilot to Painter,” on Amazon and iTunes, and my popular blog, “Barbara Rachko’s Colored Dust.”

Please see images and more at http://barbararachko.art/en/

Comments are welcome!  

Q: Would you describe how you are taking soft pastel in new directions as a fine art medium?

Barbara at work, Photo: Marianne Barcellona

Barbara at work, Photo: Marianne Barcellona

A:  I have been devoted to soft pastel for more than thirty years.  In this blog and in countless interviews online and elsewhere, I continue to expound on its merits.  For me no other fine art medium comes close.

I have developed my own original methods for working with soft pastel, pushing this venerable 500-year-old medium to its limits and using it in ways that no one has done before.  I have created a unique science of color in which I layer and blend pigments.  When viewers (including fellow artists) see my work in person for the first time, they often ask, “What medium is this?”  

My self-invented 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 acid-free sandpaper.  In addition to the thousands of pastels that I have to choose from, I blend new colors directly on the paper.  Each pastel painting takes about three months and hundreds of hours to complete. 

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 places 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!  

Start/Finish of “Stalemate,” soft pastel on sandpaper, 38″ x 58″

Start

Start

Finished and signed, lower right

Finished and signed, lower right

Comments are welcome!

 

 

 

Q: What’s on the easel today?

Work in progress

Work in progress

A:  This is the first day – with only one layer of soft pastel in most places – of a 38″ x 58″ pastel painting.  It’s based on a photo I composed at the National Museum of Ethnography and Folklore in La Paz, Bolivia.  This is the fourth work in my “Bolivianos” series.

Comments are welcome!

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