Blog Archives
Q: You’ve been working with the same medium and subject matter for decades. How did that begin, and how has it sustained you for so long? (Question from “Pastel, Passion, and Perseverance: An Interview with Barbara Rachko” in .ART Odyssey: Healing)
A: Back in the early 1990s I began using folk art as my subject matter, and I was incredibly lucky. More than thirty years later, I’m still working with it. As artists, we don’t know at the start whether a subject will sustain us, whether it will keep our curiosity alive. For me it has. I’ve always been fascinated by different cultures around the world, and that continues to feed the work. There’s freedom in that kind of framework.
I chose pastel on sandpaper as my medium. I don’t have to question it anymore. That choice itself has opened space to keep growing.
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Pearls from artists* # 120
In the studio, Photo: Britta Konau
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
In solitude artists can experiment, make a mess, sustain notes for the joy of it, imagine themselves on any stage in any play. In the studio or practice room, they are not on display and need not wear their public face. They can be their silent selves, their worst selves. If there is unfreedom on the stage or in the gallery, there is freedom in the studio. As the visual artist Allen Kaprow put it, “Artists’ studios do not look like galleries, and when an artist’s studio does, everyone is suspicious.” Galleries are for show; studios are where messes are made and where the real work happens.
Eric Maisel in A Life in the Arts
Comments are welcome!
Pearls from artists* # 69
Masks from Sri Lanka, Mexico, and Bali
*
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 mission is to stay hungry. Once you need to know, you can proceed and draw distinctions. From the heat of this necessity, you reach out to content – the play, the theme, or question – and begin to listen closely, read, taste, and experience it. You learn to differentiate and interpret the sensations received while engaged with content. The perception forms the basis for expression.
Have you ever been so curious about something that the hunger to find out nearly drives you to distraction? The hunger is necessity. As an artist, your entire artistic abilities are shaped by how necessity has entered your life and then how you sustain it. It is imperative to maintain artistic curiosity and necessity. It is our job to maintain in this state of feedforward as long as humanly possible. Without necessity as the fuel for expression, the content remains theoretical. The drive to taste, discover, and express what thrills and chills the soul is the point. Creation must begin with personal necessity rather than conjecture about audience taste or fashion.
Anne Bogart in and then, you act: making art in an unpredictable world
Comments are welcome!
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