Blog Archives
Q: How many pastel paintings do you have in progress now?
Work in progress
A: Making pastel-on-sandpaper paintings is a slow and meticulous process. I work full-time in my studio so that in a good year I can produce five finished pieces. Typically two are in progress at a time so that I can switch off when problems develop.
A downside to looking at a painting for months is that there comes a point when I can’t see the flaws any more. Then it’s definitely time to take a break.
When I put a painting that has been resting back onto my easel, I see it with fresh eyes again. Areas that need work immediately stand out. Problem areas become easily resolvable because I have continued to think about them while the painting was out of my sight.
Comments are welcome!
Q: Can you talk a little bit about your process? What happens before you even begin a pastel painting?
Barbara in Bali (far right)
A: My process is extremely slow and labor-intensive.
First, there is foreign travel – often to Mexico, Guatemala or someplace in Asia – to find the cultural objects – masks, carved wooden animals, paper mâché figures, and toys – that are my subject matter. I search the local markets, bazaars, and mask shops for these folk art objects. I look for things that are old, that look like they have a history, and were probably used in religious festivals of some kind. Typically, they are colorful, one-of-a- kind objects that have lots of inherent personality. How they enter my life and how I get them back to my New York studio is an important part of my art-making practice.
My working methods have changed dramatically over the nearly thirty years that I have been an artist. My current process is a much simplified version of how I used to work. As I pared down my imagery in the current series, “Black Paintings,” my creative process quite naturally pared down, too.
One constant is that I have always worked in series with each pastel painting leading quite naturally to the next. Another is that I always set up a scene, plan exactly how to light and photograph it, and work with a 20″ x 24″ photograph as the primary reference material.
In the setups I look for eye-catching compositions and interesting colors, patterns, and shadows. Sometimes I make up a story about the interaction that is occurring between the “actors,” as I call them.
In the “Domestic Threats” series I photographed the scene with a 4″ x 5″ Toyo Omega view camera. In my “Gods and Monsters” series I shot rolls of 220 film using a Mamiya 6. I still like to use an old analog camera for fine art work, although I have been rethinking this practice.
Nowadays the first step is to decide which photo I want to make into a painting (currently I have a backlog of photographs to choose from) and to order a 19 1/2″ x 19 1/2″ image (my Mamiya 6 shoots square images) printed on 20″ x 24″ paper. They recently closed, but I used to have the prints made at Manhattan Photo on West 20th Street in New York. Now I go to Duggal. Typically I have in mind the next two or three paintings that I want to create.
Once I have the reference photograph in hand, I make a preliminary tonal charcoal sketch on a piece of white drawing paper. The sketch helps me think about how to proceed and points out potential problem areas ahead.
Only then am I ready to start actually making the painting.
Comments are welcome!
Q: What does your creative process look like when you are ready to begin a new painting?
Preliminary sketch
A: My working methods have changed dramatically over the years with my current process being a much-simplified version of how I used to work. In other words as I pared down my imagery in the “Black Paintings,” my process quite naturally pared down, too.
One constant is that I have always worked in series with each pastel painting leading quite logically to the next. Another is that I always have set up a scene, lit and photographed it, and worked with a 20″ x 24″ photograph as the primary reference material. In the “Domestic Threats” series I shot with a 4″ x 5″ view camera. Nowadays the first step is to decide which photo I want to make into a painting (currently I have a backlog of images to choose from) and to order a 19 1/2″ x 19 1/2″ image (my Mamiya 6 shoots square images and uses film) printed on 20″ x 24″ paper. I get the print made at Manhattan Photo on West 20th Street in New York. Typically I have in mind the next two or three paintings that I want to create.
Once I have the reference photograph in hand, I make a preliminary tonal charcoal sketch on a piece of white drawing paper. The sketch helps me think about how to proceed and points out potential problem areas ahead. For example, in the photograph above I had originally thought about creating a vertical painting, but changed to horizontal format after discovering spatial problems in my sketch.
Also, I decided to make a small painting now because it has been two years since I last worked in a smaller (than my usual 38″ x 58″) size. I am re-using the photograph on which “Epiphany” is based. Using a photograph a second time lets me see how my working methods have evolved over time.
Comments are welcome!
Q: Your pastel-on-sandpaper paintings are very labor intensive. Do you typically have just one in progress at any given time?
Works in progress, soft pastel on sandpaper, 58″ x 38″
A: For many years I always worked on one at a time because I have only one or two ideas – never more than that – about what I will make next. Also, I believe that “all art is the result of one’s having gone through an experience to the end.” (It’s on a note taped to the wall near my easel). So I would work on one painting at a time until all of the problems in it were resolved. Each piece that I undertake represents an investment of several months of my life and after nearly three decades as an artist, I know that once I start a piece I will not abandon it for any reason. When it is the best painting that I can make – when adding or subtracting anything would be a diminishment – I pronounce it “finished.” In the past I would start the next one only when the completed piece was out of my sight and at the frame shop.
But a few years ago I began working on two pastel paintings at a time. When I get stuck – or just need a break from looking at the same image day after day (I am in my studio 5 days a week) – I switch to the other one. This helps me work more efficiently. The two paintings interact with each other; they play off of each other and one suggests solutions that help me to resolve problem areas in the other. I’m not sure exactly how this happens – maybe putting a piece aside for awhile alerts my unconscious to begin working deeply on it – but having two in progress at the same time is my preferred way of working now.
A note about the painting on the left above, which was previously called, “Judas.” I happen to be reading “Cloud Atlas,” by David Mitchell and came across the word “judasing” used as a verb meaning, “doing some evil to a person who profoundly trusted you.” I’d never heard the word before, but it resonated with an event in my personal life. So the new title of my painting is “Judasing.” This is a good reminder that work and life are inextricably (and inexplicably) woven together and that titles can come from anywhere!
Comments are welcome!
Q: What is it about soft pastel that you find so intriguing that you use it as your primary fine art medium?
Some of Barbara’s pastels
A: For starters it’s the medium that I fell in love with many years ago. I recently read this article online, “What is Pastel?” by Mike Mahon, and will quote it because it neatly sums up what I love about working with pastel.
Pastel is the most permanent of all media when applied to conservation ground and properly framed. Pastel has no liquid binder that may cause it to oxidize with the passage of time as oftentimes happens with other media.
In this instance, Pastel does not refer to pale colors, as the word is commonly used in cosmetic and fashion terminology. The pure, powdered pigment is ground into a paste with a minimum amount of gum binder, rolled into sticks and dried. The infinite variety of colors in the Pastel palette range from soft and subtle to hard and brilliant.
An artwork is created by stroking the stick of dry pigment across an abrasive ground, embedding the color in the “tooth” of the ground. If the ground is completely covered with Pastel, the work is considered a Pastel painting; whereas, leaving much of the ground exposed produces a Pastel sketch. Techniques vary with individual artists. The Pastel medium is favored by many artists because it allows a spontaneous approach. There is no drying time, therefore, no change in color occurs after drying as it does in other media.
Did you know that a particle of Pastel pigment seen under a microscope looks like a diamond with many facets? It does! Therefore, Pastel paintings reflect light like a prism. No other medium has the same power of color or stability.
Historically, Pastel can be traced back to the 16th century. Its invention is attributed to the German painter, Johann Thiele. A Venetian woman, Rosalba Camera, was the first to make consistent use of Pastel. Chardin did portraits with an open stroke, while La Tour preferred the blended finish. Thereafter, a galaxy of famous artists—Watteau, Copley, Delacroix, Millet, Manet, Renoir, Toulouse Lautrec, Vuillard, Bonnard, Glackens, Whistler, Hassam, William Merritt Chase—used Pastel for a finished work rather than for preliminary sketches.
Pastels from the 16th century exist today, as fresh as the day they were painted. Edgar Degas was the most prolific user of Pastel and its champion. His protégé, Mary Cassat, introduced Pastel to her friends in Philadelphia and Washington, and thus to the United States. In the Spring of 1983, Sotheby Parke Bernet sold at auction, two Degas Pastels for more than $3,000,000 each! Both Pastels were painted about 1880.
Note: Do not confuse Pastel with “colored chalk.” Chalk is a porous, limestone substance impregnated with dyes, whereas, Pastel is pure pigment—the same as is used in other permanent painting media.
Today, Pastel paintings have the stature of oil and watercolor as a major fine art medium. Many of our most renowned, living artists have distinguished themselves in Pastel and have enriched the art world with this beautiful medium.
So knowing all this, I often wonder, why don’t more artists use pastel? Is it because framing is a big issue? Works on paper need to be framed and pastel paintings have unique problems (see my April 27, 2013 blog post). Second only to the cost of maintaining a studio in New York City, frames are my single largest business expense. Sometimes I am grateful that pastel is a very slow medium. I typically finish 4 or 5 paintings in a year, which means I only have to pay for 4 or 5 frames!
Comments are welcome!
