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Q; What was the spark that got you started? (Question from Barbara Smith via Facebook)
A: If I had to select one factor, I would say, profound unhappiness with my professional life. In 1986 I was a 33-year-old Navy Lieutenant working as a computer analyst at the Pentagon. I hated my job, was utterly miserable, and moreover, I was trapped because unlike many jobs, it’s not possible to resign a Naval commission with two weeks notice.
My bachelor’s degree had been in psychology. When I was in my 20s and before I joined the Navy, I had spent two years and my own money training to become a licensed commercial pilot and Boeing-727 Flight Engineer. I had planned to become an airline pilot, but due to bad timing (airlines were not hiring pilots when I was looking for a job), that did not come to pass.
So there I was with absolutely no interest, nor any training in computers, working for the Joint Chiefs of Staff, and completely bored. I knew I must have taken a wrong turn somewhere and resolved to make a significant change. Searching around, I discovered a local art school, the Art League School in Alexandria, VA, and began taking drawing classes.
One drawing class lead to more. Within a couple of years, due to being highly motivated to change my life, my technical skills rapidly improved. Even then, I believe, it was obvious to anyone who knew me that I had found my calling. I resigned my active duty Naval commission and have been a fulltime professional artist since October 1989. (Note: For fourteen more years I remained in the Naval Reserve working, mostly at the Pentagon, one weekend a month and two weeks each year, and retired as a Navy Commander in 2003).
Life as a self-employed professional artist is endlessly varied, fulfilling, and interesting. I have never once regretted my decision to pursue art fulltime!
Comments are welcome!
Q: What has been your biggest challenge so far?
“Us and Them,” soft pastel on sandpaper, 47″ x 38″ image, 60″ x 50″ framed
A: On September 11, 2001, my husband Bryan, a high-ranking federal government employee, a brilliant economist (with an IQ of 180 he is the smartest man I have ever known) and a budget analyst at the Pentagon, was en route to Monterrey, CA to give his monthly guest lecture for an economics class at the Naval Postgraduate College. He had the horrible misfortune of flying out of Dulles Airport and boarding the plane that was high-jacked and crashed into the Pentagon, killing 189 people. Losing Bryan was the biggest shock of my life and devastating in every possible way.
The following summer I was ready to – I HAD to – get back to work. Learning about photography and pastel painting became avenues to my well-being. I use reference photos for my paintings, so my first challenge was to learn how to use Bryan’s 4 x 5 view camera (Bryan always took these reference photos for me).
In July 2002 I enrolled in a one-week view camera workshop at the International Center of Photography in New York. Much to my surprise, I had already acquired substantial technical knowledge from watching Bryan. Still, after the initial workshop, I threw myself into this new medium and continued studying photography at ICP for several years. I began with Photography I and enrolled in many more classes until I gradually learned how to use Bryan’s extensive camera collection, to properly light my setups, and to print large chromogenic photographs in a darkroom.
In October 2009 it was very gratifying to have my first solo photography exhibition with HP Garcia in New York. Please see http://barbararachko.art/images/PDFS/ BarbaraRachko-HPGargia.pdf. I vividly remember tearing up at the opening as I imagined Bryan looking down at me with his beautiful smile, beaming as he surely would have, so proud of me for having become a respected photographer.
Continuing to make art had seemed an impossibility after Bryan’s death. However, the first large pastel painting that I created using a self-made reference photograph proved my life’s work could continue. The title of that painting, “She Embraced It and Grew Stronger,” is certainly autobiographical. “She” is me, and “it” means continuing on without Bryan and living life for both of us.
Comments are welcome!
Pearls from artists* # 292
“White Star,” soft pastel on sandpaper, 38″ x 58″
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
… many tools may share qualities of fine design with works of art. We are in the presence of a work of art only when it has no preponderant instrumental use, and when its technical and rational foundations are not pre-eminent. When the technical organization or the rational order of a thing overwhelms our attention, it is an object of use. On this point Lodoli anticipated the doctrine of functionalists of our century when he declared in the eighteenth century that only the necessary is beautiful. Kant, however, more correctly said on the same point that the necessary cannot be judged beautiful, but only right or consistent. In short, a work of art is as useless as a tool is useful. Works of art are as unique and irreplaceable as tools are common and expendable.
George Kubler in The Shape of Time: Remarks on the History of Things
Comments are welcome!
Q: Do you have a daily ritual that helps you start working in your studio?
Barbara’s studio
A: In the morning before I start working on a pastel painting, I read for roughly half an hour. Usually I read something art-related; for example, see the books that are quoted on Wednesdays in “Pearls from artists” on this blog.
As I’m reading, I look across at the painting on my easel and soon something becomes apparent, some annoying thing that needs immediate attention. That’s where I will begin. As I’m looking, of course, I’m thinking and the solution to a technical problem becomes obvious. Before I know it, I’m up and working, slowly improving the painting as I go.
Comments are welcome!
Q: What do you do when you are between paintings?
Work in progress
A: I would be at loose ends if I finished a pastel painting and didn’t have another one immediately available to work on. It’s one reason I always have two paintings in progress. Another is that when I get stuck on some technical problem, I can switch to the other painting. Works in progress tend to interact and play off of each other. As I am working on a second painting, solutions to problems I had on the first quickly become apparent.
Comments are welcome!
Q: You have written about how you came to your current subject matter, but what led you away from photorealism to work that while not exactly abstract, leans more in that direction?
Barbara’s studio
A: Once I had achieved a high degree of technical facility with soft pastel, there was not much more to be gained from copying reality. Cameras do an excellent job of that so what would be the point?
Ultimately, all art lies in following an experience through to the end. Art is in the choices one makes. A visual artist’s private decisions about what to include and what to leave out become her unique inimitable style. Years ago I made a conscious decision to abandon photorealism. Since then I have been on a journey to work more from imagination and direct experience and less from physical reality.
It’s funny. I have always worked from photographs. Because I have a strong work ethic and substantial technical skill, I often feel like a slacker if I do not put in all the details that I see in the reference photo. That’s why the journey has been so slow, I think, as I convince myself it’s really ok to omit more and more details.
Comments are welcome!
Q: How important is the feedback of your audience? Do you ever think about who will enjoy your Art when you conceive it?
Painting, subject, reference photo
A: I can’t say that I think at all about audience reaction while I’m creating a painting in my studio. Although, of course I want people to respond favorably to the work.
Generally, I’m thinking about technical problems – making something that is exciting to look at, well-composed, vibrant, up to my exacting standards, etc. When I finish a painting, it is the best thing I am capable of making at that moment in time.
I think about a painting and look at it for so long and with such intensity, that it could hardly have turned out any differently. There is an inevitability to the whole lengthy process that goes all the way back to when I first laid eyes on the folk art figures in a dusty shop in a third world country. Looking at a newly-finished painting on my easel I often think, “Of course! I was drawn to this figure so that it could serve this unique function in this painting.”
Comments are welcome!
Q: You took classes at The Art League School in Alexandria, VA in the late eighties studying intensely with Lisa Semerad and Diane Tesler. How have these experiences impacted on the way you currently produce your artworks? By the way, I sometimes wonder if a certain kind of formal training in artistic disciplines could even stifle a young artist’s creativity. What do you think?
Barbara’s studio
A: From studying with Lisa and Diane I gained an excellent technical foundation and developed my ability to draw and depict just about anything in soft pastel. They were both extremely effective teachers and I worked hard in their classes. I probably got my work ethic from them. Without Diane and Lisa I doubt I would have gained the necessary skills nor the confidence to move to New York to pursue my art career.
Needless to say, I believe developing excellent technical skills is paramount. Artists can, and should, go ahead and break the rules later, but they won’t be able to make strong work, expressing what they want, without a firm foundation. Once you have the skills, you can focus on the things that really make your work come alive and speak to an appreciative audience.
Comments are welcome!
barbararachkoscoloreddust.com 
Q: I understand your comments to mean that being at the studio challenges you to be your best. How (why) do you think that works? (Question from Nancy Nikkal)
Aug 8
Posted by barbararachkoscoloreddust
“Avenger,” soft pastel on sandpaper, 58″ x 38″
A: I am always trying to push my pastel techniques further, seeking to figure out new ways to render my subject matter, expanding my technical vocabulary. It would be monotonous to keep working the same old way. Wasn’t it John Baldessari who said, “No more boring art?” He was talking about art that’s boring to look at. Well, as someone who CREATES art I don’t want to be bored during the making so I keep challenging myself. I love learning, in general, and I especially love learning new things about soft pastel.
Very often I start a project because I have no idea how to depict some particular subject using pastel. For example, one of the reasons I undertook “Avenger” was to challenge myself to render all of that hair! Eventually I managed to figure it out and I learned a few new techniques in the process.
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Posted in 2020, An Artist's Life, Bolivianos, Creative Process, Pastel Painting, Working methods
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