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Q: Your work is unlike anyone else’s. There is such power and boldness in your pastels. What processes are you using to create such poignant and robustly colored work?

Barbara working on an interview. Photo: Maria Cox

Barbara working on an interview. Photo: Maria Cox

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

The acid-free sandpaper support allows the buildup 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. 

My 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 the sandpaper.  In addition to the thousands of pastels that I have to choose from, I make new colors directly on the paper.  Regardless of size, each pastel painting takes about four months and hundreds of hours to complete.  

I have been devoted to soft pastel from the beginning.  In my blog and in numerous interviews online and elsewhere, I continue to expound on its merits.  For me no other fine art medium comes close. 

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 countries 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!

Pearls from artists* # 212

Machu Picchu

Machu Picchu

* 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 anthropologist Ellen Disanayake… in Homo Aestheticus, argues that art and aesthetic  interest belong with rituals and festivals – offshoots of the human need to ‘make special,’ to extract objects, events, and human relations from everyday uses and to make them a focus of collective attention.  This ‘making special’ enhances group cohesion and also leads people to treat those things which really matter for the survival of community – be it marriage or weapons, funerals, or offices – as things of public note, with an aura that protects them from careless disregard and emotional erosion.  The deeply engrained need to ‘make special’ is explained by the advantage that it has conferred on human communities, holding them together in times of threat, and furthering their reproductive confidence in times of peaceful flourishing.

Beauty:  A Very Short Introduction, by Roger Scruton

Comments are welcome!

      

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

Preliminary charcoal sketch on white drawing paper. The white bits are masking tape used to tape several pieces of paper together to make a large sheet.

Preliminary charcoal sketch on white drawing paper.  The white bits are masking tape joining small sheets of paper together to make one that’s 60″ x 40″.

 

Finished and signed

Finished and signed, lower left

Comments are welcome!

 

 

 

Pearls from artists* # 183

West Village

West Village

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

Part of what makes snowfall in a city magical is the way that muted sound and the sight of buildings and cars draped in whiteness go together.  If we’re not too worried about missing appointments, we feel the excitement of moving into a new place where none of the old clutter and racket of our lives has arrived. 

In Pursuit of Silence:  Listening for Meaning in a World of Noise by George Prochnik

Comments are welcome!

Pearls from artists* # 177

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.

Everyone but a lunatic has a reason for what he does.  Yes, in that sense I am a determinist.  But I believe, with Kant, that the mind is self-determined.  That is, I believe intensely in the creative freedom of the mind.  That is indeed absolutely essential to man’s security in a chaotic world of change.  He is faced all the time with unique complex problems.  To sum them up for action is an act of creative imagination.  He fits the different elements together in a coherent whole and invents a rational act to deal with it.  He requires to be free, he requires his independence and solitude of mind, he requires his freedom of mind and imagination.  Free will is another matter – it is a term, or rather a contradiction in terms, which leads to continual trouble.  The will is never free – it is always attached to an object, a purpose.  It is simply the engine in the car – it can’t steer.  It is the mind, the reason, the imagination that steers.

Joyce Carey in The Paris Review Interviews:  Writers at work 1st Series, edited and with an introduction by Malcolm Cowley

Comments are welcome!

Q: Do you have any favorites among the Mexican and Guatemalan folk art figures that you depict in your work?

Idea for an upcoming pastel painting

Idea for an upcoming pastel painting

A:  I suppose it seems that way, since I certainly paint some figures more than others.  My favorite characters change, depending on what is happening in my work.  My current favorites are a figure I have never painted before (the Balinese dragon above) and several Mexican and Guatemalan figures last painted years ago.  All will make an appearance in a pastel painting for which I am still developing preliminary ideas (above).

Comments are welcome!    

Pearls from artists* # 156

Barbara's studio

Barbara’s studio

Our vision is what makes us unique and special.  Literally, vision means an artist’s unique way of seeing the world, the special and specific choices the artist makes when observing the world around him.  It is also what the artist imagines and sees with his unique mind’s eye and brings out by way of his art.  Vision is like a lighthouse, it guides the artist to a specific area of nature or life or to a subject that is personal to the artist, one that others might have overlooked.  Vision also includes that which the artist’s conscience tells him the world ought to be – or what the world is lacking.  Vision is that unique and special contribution we bring and add to life; it is that which no one can provide but us.  Passion, inspiration, talent and skill all have to come together so that our vision can be achieved.

Samuel Adoquei in Origin of Inspiration:  Seven Short Essays for Creative People

Comments are welcome!   

Pearls from artists* # 150

 

Tile worker, South India

Tile worker, South 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.

You wait for your eye to sort of “turn on,” for the elements to fall into place and that ineffable rush to occur, a feeling of exultation when you look through that ground glass, counting ever so slowly, clenching teeth and whispering to Jessie to holdstillholdstillholdstill and just knowing that it will be good, that it is true.  Like the one true sentence that Hemingway writes about in A Moveable Feast, that incubating purity and grace that happens, sometimes, when all the parts come together.

And these pictures have come quickly, in a rush… like some urgent bodily demand.  They have been obvious, they have been right there to be taken, almost like celestial gifts.  

Sally Mann in Hold Still:  A Memoir with Photographs

Comments are welcome!

Pearls from artists* # 129

 

Chalcatzingo, Mexico

Chalcatzingo, Mexico

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

A painter friend of mine once told me that he thought of sound as an usher for the here and now.  When he was a small child, Adam suffered an illness that left him profoundly deaf for several months.  His memories of that time are vivid and not, he insists, at all negative.  Indeed, they opened a world in which the images he saw could be woven together with much greater freedom and originality than he’d ever known.  The experience was powerful enough that it helped steer him toward his lifelong immersion in the visual arts.  “Sound imposes a narrative on you,” he said, “and it’s always someone else’s narrative.  My experience of silence was like being awake inside a dream I could direct.”

George Prochnik in In Pursuit of Silence:  Listening for Meaning in a World of Noise 

Comments are welcome! 

Q: Another interesting series of yours that has impressed me is your recent “Black Paintings.” The pieces in this series are darker than the ones in “Domestic Threats.” You create an effective mix between the dark background and the few bright tones, which establish such a synergy rather than a contrast, and all the dark creates a prelude to light. It seems to reveal such a struggle, a deep tension, and intense emotions. Any comments on your choice of palette and how it has changed over time?

West 29th Street studio

West 29th Street studio

A:  That is a great question!  

You are correct that my palette has darkened. It’s partly from having lived in New York for so long. This is a generally dark city. We famously dress in black and the city in winter is mainly greys and browns.  

Also, the “Black Paintings” are definitely post-9/11 work. My husband, Bryan, was tragically killed onboard the plane that crashed into the Pentagon. Losing Bryan was the biggest shock I ever have had to endure, made even harder because it came just 87 days after we had married. We had been together for 14 ½ years and in September 2001 were happier than we had ever been. He was killed so horribly and so senselessly. Post 9/11 was an extremely difficult, dark, and lonely time.  

In the summer of 2002 I resumed making art, continuing to make “Domestic Threats” paintings. That series ran its course and ended in 2007. Around then I was feeling happier and had come to better terms with losing Bryan (it’s something I will never get over but dealing with loss does get easier with time). When I created the first “Black Paintings” I consciously viewed the background as literally, the very dark place that I was emerging from, exactly like the figures emerging in these paintings. The figures themselves are wildly colorful and full of life, so to speak, but that black background is always there.       

Comments are welcome!     

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