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Pearls from artists* # 251

"Quartet," soft pastel on sandpaper, 58" x 38" image, 70" x 50" framed

“Quartet,” soft pastel on sandpaper, 58″ x 38″ image, 70″ x 50″ framed

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

Interviewer:  Is there any possible formula to follow in order to be a good novelist”

Faulkner:  … Ninety-nine per cent talent… 99 per cent discipline… 99 per cent work.  He must never be satisfied with what he does.  It is never as good as it can be done.  Always shoot higher than you know you can do.  Don’t bother just to be better than your contemporaries or predecessors.  Try to be better than yourself. 

William Faulkner in Writers at Work:  The Paris Review Interviews First Series, edited, and with an introduction by Malcolm Crowley

Comments are welcome!

Q: In terms of change where will you take your work next?

Barbara's studio

Barbara’s studio

A:  That’s difficult to say because creating new pastel paintings is a somewhat mysterious process.  Change happens on its own timetable and in its own way rather than from my efforts to exert conscious control over it.  In essence it is my job to keep working in the studio, to be sensitive and true to my own creative process, and to go where the work leads.  I doubt that I could work otherwise and still claim to be authentic.

Comments are welcome!     

Pearls from artists* # 154

Idea for a painting

Idea for a painting

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

Often the public forms an idea of inspiration that is quite false, almost a religious notion.  Alas!  I do not believe that inspiration falls from heaven.  I think it rather the result of a profound indolence and of our incapacity to put to work certain forces in ourselves.  These unknown forces work deep within us, with the aid of the elements of daily life, its scenes and passions, and, they burden us and oblige us to conquer the kind of somnolence in which we indulge ourselves like invalids who try to prolong dream and dread resuming contact with reality, in short when the work that makes itself in us and in spite of us demands to be born, we can believe that this work comes to us from beyond and is offered by the gods.  The artist is more slumberous in order that he shall  not work.  By a thousand ruses, he prevents his nocturnal work from seeing the light of day.

For it is at the moment that consciousness must take a precedence and that it becomes necessary to find the means which permit the unformed work to take form, to render it visible to all.  To write, to conquer ink and paper, accumulate letters and paragraphs, divide them with periods and commas, is a different matter than carrying the dream of a play or of a book.

Jean Cocteau: The Process of Inspiration in The Creative Process, edited by Brewster Ghiselin

Comments are welcome!  

Q: What’s on the easel today?

Work in progress

Work in progress

A:  I am working on a small pastel painting, a portrait of my favorite Mexican Judas figure.

Comments are welcome! 

Pearls from artists* # 148

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.

I want Bob Iger, the head of Disney, to invest in my ideas.  In fact … one of my ideas is … I love Walt Disney … I feel Disney should have an art fund that completely supports all of the arts.  And I feel that there should be a responsibility, recruiters, constantly looking for new thinkers and connecting them directly to companies that already work.  Why does the person who has the most genius idea or cultural understanding or can create the best art have to figure out how to become a businessman in order to become successful at expressing himself?  I think it’s important for anyone that’s in power to empower.

Kanye West in Choice Quotes from Kanye’s Address at the School of the Art Institute of Chicago, in Hyperallergic, May 12, 2015

Comments are welcome!

Q: How do you document your work?

Barbara's portfolio book

Barbara’s portfolio book

A:  I have been a professional artist for thirty years so some things have changed and some haven’t.  I have a portfolio book of 8 x 10 photographs of all my pastel paintings.  Since my process is slow and meticulous, the latest, “Troublemaker,” is pastel painting number 124.  

I have always gotten my work professionally photographed.  Until 2001 my husband Bryan was my photographer and since then I have hired three people.  To document older work I have slides, 4 x 5 transparencies, and color and black and white 4 x 5 negatives.  I continued with slides and film longer than many artists, but finally switched to digital files a few years ago when buying film and processing it became difficult.

Comments are welcome!            

Q: Would you talk about your use of Mexican and Guatemalan folk art as a convenient way to study formal properties such as color, shape, pattern, composition, etc. in your pastel paintings?

Models, reference photograph, and pastel painting in progress

Models, reference photograph, and pastel painting in progress

A:  For me an interesting visual property of these objects is that they readily present themselves as a vehicle for exploring formal artistic properties, like color, pattern, shape, etc. especially compared to my earlier subject matter:  hyper-realistic portraits and still-lifes.  Intent as I was on creating verisimilitude in the earlier work, there was little room for experimentation.  

Many Mexican and Guatemalan folk art objects are wildly painted and being a lover of color, their brilliant colors and patterns are  what initially attracted me.  As a painter I am free to use their actual appearance as my starting point.  I photograph them out-of-focus and through colored gels in order to change their appearance and make them strange, enacting my own particular version of “rendering the familiar strange.”  Admittedly these objects are not so familiar to begin with. 

When I make a pastel painting I look at my reference photograph and I also look at the objects, positioning them within eye-shot of my easel.  There is no need whatsoever to be faithful to their actual appearance so my imagination takes over.  As I experiment with thousands of soft pastels, with shape, with pattern, with composition, and all the rest, I have one goal in mind – to create the best pastel-on-sandpaper painting I am capable of making. 

Comments are welcome!         

Q: Why don’t you teach or conduct pastel workshops?

Barbara in her studio

Barbara in her studio

A:  I am often asked to teach, but I never have had the desire to do so.  Because my work is extremely labor intensive, I am reluctant to give up precious studio time, either for teaching or for any activities that could be deemed a distraction.  Consistent in my creative practice, I typically work in my studio five days a week, seven or more hours a day and am able to complete four or five pastel-on-sandpaper paintings in a year.     

Teaching would divert time, attention, and energy away from my practice.  Certainly it can be rewarding in many ways but since my process is slow and meticulous, I prefer to focus on making new work.  

Comments are welcome!       

Pearls from artists* # 145

 

"Stalemate," soft pastel on sandpaper, 38" x 58"

“Stalemate,” 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.

It is a mistake for a sculptor or a painter to speak or write very often about his work.  It releases tension needed for his job.  By trying to express his aims with rounded-off logical exactness, he can easily become a theorist whose actual work is only a caged-in exposition of conceptions evolved in terms of logic and words. 

But though the nonlogical, instinctive, subconscious part of the mind must play its part in his work, he also has a conscious mind which is not inactive.  The artist works with a concentration of his whole personality, and the conscious part of it resolves conflicts, organizes memories, and prevents him from trying to walk in two directions at the same time.

Henry Moore:  Notes on Sculpture in The Creative Process, edited by Brewster Ghiselin

Comments are welcome!   

Pearls from artists* # 142

 

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.

You essentialize as you get older.  I think you start discarding and leaving in there only what is necessary.  That is part of the process of getting older as an artist.  It takes a lot of work to do that.  It takes many, many hours and many, many days and many, many weeks and many years to shed.

Conversations with Meredith Monk by Bonnie Marranca

Comments are welcome!