A: I am wild about color! As I work to create a pastel painting, I apply a color, back up from my easel to see how it interacts with and affects the rest of the painting, and then I make revisions. This process necessitates countless color changes and hundreds of hours during months of work. I apply pastel using a meticulous layering process. Were you to x-ray one of them, the earlier, discarded versions of a pastel painting would be visible. All the while I carefully fine-tune and refine how the colors and shapes interact with each other.
The goal is to make an exciting painting that no one, especially me as the maker, has ever seen before. I have no desire to repeat myself, to make art that resembles work by any other artist, or to be forced into a niche.
I try to select intense, vibrant colors that are exciting to look at, that work well in relationship to each other, and that will grab the viewer. Sometimes I deliberately choose colors for their symbolic meanings. For example, I selected a dark purple for the alternating triangles (the ones with the pink dots above) in “Overlord” because purple denotes royalty.
I have been working with soft pastel for 37 years so I have a fairly intricate science of color at my disposal. No doubt, many unconscious factors are at play, too. More on that in future posts.
Comments are welcome!
Q: What art project(s) are you working on currently? What is your inspiration or motivation for this? (Question from artamour)
A: While traveling in Bolivia in 2017, I visited a mask exhibition at the National Museum of Ethnography and Folklore in La Paz. The masks were presented against black walls, spot-lit, and looked eerily like 3D versions of my Black Paintings, the series I was working on at the time. I immediately knew I had stumbled upon a gift. To date I have completed seventeen pastel paintings in the Bolivianos series. One awaits finishing touches, another is in progress, and I am planning the next two, one large and one small pastel painting.
The following text is from my “Bolivianos” artist’s statement.
“My long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.
The masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.
Carnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.
The exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!
Knowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.”
Comments are welcome!