Blog Archives

Q: Do you lose yourself in your work?

Barbara at work

Barbara at work

A:  Of course!  When I am having a productive day in the studio, I am completely present and focused, fully immersed in solving technical problems and trying to improve the painting on my easel.  I barely notice the time and have to remind myself to take a break or stop for lunch.  Nothing else exists except the painting and my relationship with it.  The rest of life completely falls away from my consciousness.

I believe most artists regularly experience this feeling of ‘flow.’  It is a state of being that is inherent and necessary to creative work of all kinds.

Comments are welcome! 

Q: On an average day in the studio, how much of your time is spent in the physical act of making art?

Working

Working

A:  My typical studio day is from 10:00 to 5:00.  When I arrive, I often read for half an hour.  Reading helps me relax and focus and get into the mindset I need to do my work.   While I read, I look at the painting on my easel, assess it’s current state, and decide where to begin working.

Then I work until lunch time, generally around 1:00.  After lunch I work for another five hours or so, taking a break whenever I want.

This has been more or less my schedule for five days a week for years.  At an earlier point as I was developing my craft, I would work 9- or 10-hour days and six days a week.

My creative process is relatively slow.  In a typical year I create five  new pastel paintings.  This year I am right on schedule.  I have completed four and am working on a fifth.

Comments are welcome!    

Q: When you are in your studio working on a pastel painting and pause to consider what you have done, do you ask yourself, “Is it good?”

"The Champ," soft pastel on sandpaper, 26" x 20" image, 35" x 28 1/2" framed

“The Champ,” soft pastel on sandpaper, 26″ x 20″ image, 35″ x 28 1/2″ framed

A:  Certainly, I do.  In addition, I ask myself some other important questions:  

Is it the best I can do?

Is it exciting?

Is it surprising?

Is it idiosyncratic and unique to me?

Is there anything I can do to improve it?

Does it meet (or hopefully exceed) the exacting technical and formal standards I have set for my work?  

Will I be proud to finally see my signature on it?

Comments are welcome!

Q: How do you deal with the loneliness of working in a studio?

Barbara's studio

Barbara’s studio

A:  I never feel lonely when I’m working.  I love being in my studio and even after thirty years, still find the whole process of making a pastel painting completely engaging.  

Painting is the one activity that not only uses all of my mental and physical abilities, but challenges me to push further.  I am at my best in the studio.

Because there is always more to learn and process into the work, creating art is endlessly fascinating!  Most artists probably feel the same way.  It’s one of the reasons we persist.  

Comments are welcome!           

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!     

Q: Would you talk about a few of the technical properties that made pastel your medium of choice?

Barbara'a pastels

Barbara’a pastels

A:  Pastel is a time-tested medium that has been in use for five hundred years.  I fell in love with it nearly thirty years ago and it has been my primary medium ever since.

Pastel is known to be the most permanent of all media. It has no liquid binder that might cause oxidizing with the passage of time as often happens with other painting media.  Pastel colors are intense because they are the closest artists get to working with pure pigment.  Artists throughout history have generally favored pastel because it allows a spontaneous approach with no drying time and no change of color.

Comments are welcome!

Pearls from artists* # 247

A recent charcoal study

A recent charcoal study

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

Studies made in the open air are different from pictures that are destined to be shown in public.  The latter, in my opinion, result from the studies, but they may, or even must, differ a great deal from them.  For in the picture the painter rather gives a personal impression, while in a study his aim is simply to analyze a bit of nature – either to make his idea or conception more correct, or to find a new idea; for example, the studies of Mauve, which I myself like very much, precisely because of their soberness and because they are done so faithfully.  Still they miss a certain charm, which the pictures that result from them possess in such a high degree.

I believe one gets more sound ideas when thoughts arise from direct contact with things than when one looks at them with the set purpose of finding certain facts in them.  It is the same with the question of a colour scheme.  There are colours that harmonize wonderfully, but I try my best to paint a subject as I see it before I set to work to make it as I feel it.  Yet feeling is a great thing, and without it one would not be able to do anything.  Thus, studies belong more to the studio than among the pubic.

Dear Theo:  The Autobiography of Vincent Van Gogh, edited by Irving Stone

Comments are welcome!    

Q: You use an impressive assortment of soft pastels to create your pastel paintings. Which are your favorite?

Barbara's studio

Barbara’s studio

A:  My favorite brand of soft pastels is Henri Roché.  They offer subtle variations in color and hue since they make more colors than any other company.

As a birthday present a few years ago, I treated myself to a full 750-color set.  I mainly use them for finishing touches, rather than letting them get buried under pastel.  At nearly $20 a stick, I also don’t want see them reduced to colored dust on the floor beneath my easel.  One of my peers calls them, “the Maserati of pastels!”

Isobel Roché told me that her goal is to reach 1000 colors in time for the company’s 300th anniversary in 2020!  I hope she makes it.  

These pastels have been around so long that Degas and other artists of the era used them.  It’s humbling to know that I am working with the same materials and following a long and prestigious art tradition of using soft pastel.

Comments are welcome!

Q: Would you share your elevator pitch?

Barbara's studio

Barbara’s studio

A:  Here it is:

I live in New York and have been a working artist for 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.

Please see the extensive interview (14 pages so page through) at

http://barbararachko.com/images/PDFS/ARTiculAction-July2014.pdf

and see images and more at http://barbararachko.com/en/

Comments are welcome!  

Pearls from artists* # 228

Barbara's studio

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.

… we’re plagued by the certainty that we haven’t quite achieved what we’d hoped we could.  The work is only as good as our small, imperfect, pedestrian selves can make it.  It exists in some idealized form, just out of reach.  And so we push on.  Driven by a desire to get it right, and the suspicion that there is no getting it right, we do our work in the hopes of coming close.  There’s no room in this process for an overblown ego.  A career – whether it takes us to Cap d’Antibes or to the Staybridge Suites off the interstate – can be the result, but if it’s the goal, we’ve lost before we’ve even begun.

Dani Shapiro in Still Writing:  The Perils and Pleasures of a Creative Life

Comments are welcome!