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Pearls from artists* # 476

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.

For a great many artists solitude is the time when they feel most real and alive. It is when they have their most intense experiences, when they can vicariously live out any adventure, any dream. Tennessee Williams said, “I’m only really alive when I’m writing.” The painter Robert Motherwell wrote, “I feel most real to myself in the studio.” The young, exuberant Russian painter Marie Bashkirtseff exclaimed at the end of the last century:

In the studio all distinctions disappear. One has neither name nor family; one is no longer the daughter of one’s mother, one is oneself and individual, and one has before one art, and nothing else. One feels so happy, so free, so proud!

We may think of his aliveness as the accumulation of al the above-listed benefits, as the artist working out her life, manifesting her creativity, suiting her personality, playing, avoiding unwanted social interactions, working authentically and integrity, living intensely – as the artist being her grandest self.

Eric Maisel in A Life in the Arts: Practical Guidance and Inspiration for Creative and Performing Artists

Comments are welcome!

Pearls from artists* # 475

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.

In order to warm the artist’s heart, it’s necessary to assert that he is doing good work. Random or wrong-headed praise won’t do the trick, but will only exacerbate the artist’s feeling that he is unseen and misunderstood.

Even wrong-headed praise is the exception rather than the rule in the artist’s search for recognition. More often than not your recognition will consist of criticism, not praise. You may be criticized for not attempting work you have no desire to attempt, for pandering to mass taste, for working too exotically or too narrowly… You may be attacked in a mixed review that purports to praise you. In short, you may be criticized for everything and anything under the sun.

Can you escape this criticism as you struggle for recognition? No. The journalist Elbert Hubbard said, “To escape criticism, do nothing, say nothing, be nothing.” … you can’t escape criticism, you can’t tame your critics.

Eric Maisel in A Life in the Arts: Practical Guidance and Inspiration for Creative and performing Artists

Comments are welcome!

Pearls from artists* # 461

Whitney Museum of American Art

*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 must not eat much in the evening, and I must work alone. I think that going into society from time to time, or just going out and seeing people, does not do much harm to one’s work and spiritual progress, in spite of what many so-called artists say to the contrary. Associating with people of that kind is far more dangerous; their conversation is always commonplace. I must go back to being alone. Moreover, I must try to live austerely, as Plato did. How can one keep one’s enthusiasm concentrated on a subject when one is always at the mercy of other people and in constant need of their society? Dufresne was perfectly right; the things we experience for ourselves when we are alone are much stronger and much fresher. However pleasant it may be to communicate one’s emotion to a friend there are too many fine shades of feeling to be explained, and although each probably perceives them, he does so in his own way and thus the impression is weakened for both. Since Dufresne has advised me to go to Italy alone, and to live alone once I am settled there, and since I, myself, see the need for it, why not begin now to become accustomed to the life; all the reforms I desire will spring from that? My memory will return, and so will my presence of mind, and my sense of order.

The Journal of Eugene Delacroix edited by Hubert Wellington

Comments are welcome!

Q: What’s on the easel today?

In progress

A: I continue slowly working on an untitled 58” x 38” pastel-on-sandpaper painting that is part of the acclaimed “Bolivianos” series.

Comments are welcome!

Pearls from artists* # 460

Recent pastel paintings in progress

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

Precious realm of painting! That silent power that speaks at first only to the eyes and then seizes and captivates every faculty of the soul! Here is your real spirit; here is your own true beauty, beautiful painting, so much insulted, so much misunderstood and delivered up to fools who exploit you. But there are still hearts ready to welcome you devoutly, souls who will no more be satisfied with mere phrases than with inventions and clever artifices. You have only to be seen in your masculine and simple vigor to give pleasure that is pure and absolute. I confess that I have worked logically, I, who have no love for logical painting. I see now that my turbulent mind needs activity, that it must break out and try a hundred different ways before reaching the goal towards which I am always straining. There is an old leaven working in me, some black depth that must be appeased. Unless I am writhing like a serpent in the coils of a pythoness I am cold. I must recognize this and accept it, and to do so is the greatest happiness. Everything good that I have ever done has come about in this way. No more ‘Don Quixotes’ and such unworthy things!

The Journal of Eugene Delacroix edited by Hubert Wellington

Comments are welcome!

Q: What’s on the easel today?

Pastel painting in progress

A: I’m working on another large (58” x 38”) “Bolivianos” pastel painting based on old Bolivian masks encountered at the Museum of Folklore and Ethnography in La Paz four years ago. The masks were made to be worn in annual Carnival celebrations that happen in the mountain town of Ouroro, about a three-hour drive from La Paz.

Comments are welcome!

Q: Why art? (Question from “Arts Illustrated”)

Barbara’s studio
Barbara’s studio

A: I love this question!  I remember being impressed by Ursula von Rydingsvard’s exhibition at the National Museum of Women in the Arts a few years ago.  What stayed with me most was her wall text, “Why Do I Make Art by Ursula von Rydingsvard.”  There she listed a few dozen benefits that art-making has brought to her life.

I want to share some of my own personal reasons for art-making here, in no particular order.  My list keeps changing, but these are true at least for today. 

1.   Because I love the entire years-long creative process – from foreign travel whereby I discover new source material, to deciding what I will make, to the months spent in the studio realizing my ideas, to packing up my newest pastel painting and bringing it to my Virginia framer’s shop, to seeing the framed piece hanging on a collector’s wall, to staying in touch with collectors over the years and learning how their relationship to the work changes.

2.   Because I love walking into my studio in the morning and seeing all of that color!  No matter what mood I am in, my spirit is immediately uplifted.  

3.   Because my studio is my favorite place to be… in the entire world.  I’d say that it is my most precious creation.  It’s taken more than twenty-two years to get it this way.  I hope I never have to move!

4.   Because I get to listen to my favorite music all day.

5.   Because when I am working in the studio, if I want, I can tune out the world and all of its urgent problems.  The same goes for whatever personal problems I am experiencing.

6.   Because I am devoted to my medium.  How I use pastel continually evolves.  It’s exciting to keep learning about its properties and to see what new techniques will develop.

7.   Because I have been given certain gifts and abilities and that entails a sacred obligation to USE them.  I could not live with myself were I to do otherwise.

8.   Because art-making gives meaning and purpose to my life.  I never wake up in the morning wondering, how should I spend the day?  I have important work to do and a place to do it.  I know this is how I am supposed to be spending my time on earth.

9.   Because I have an enviable commute.  To get to my studio it’s a thirty-minute walk, often on the High Line early in the morning before throngs of tourists have arrived.

10.  Because life as an artist is never easy.  It’s a continual challenge to keep forging ahead, but the effort is also never boring.  

11.  Because each day in the studio is different from all the rest. 

12.  Because I love the physicality of it.  I stand all day.  I’m always moving and staying fit.

13.  Because I have always been a thinker more than a talker.  I enjoy and crave solitude.  I am often reminded of the expression, “She who travels the farthest, travels alone.”  In my work I travel anywhere.

14.  Because spending so much solitary time helps me understand what I think and feel and to reflect on the twists and turns of my unexpected and fascinating life.

15.  Because I learn about the world.  I read and do research that gets incorporated into the work.

16.  Because I get to make all the rules.  I set the challenges and the goals, then decide what is succeeding and what isn’t.  It is working life at its most free.

17.  Because I enjoy figuring things out for myself instead of being told what to do or how to think.

18.  Because despite enormous obstacles, I am still able to do it.  Art-making has been the focus of my life for thirty-three years – I was a late bloomer – and I intend to continue as long as possible.

19.  Because I have been through tremendous tragedy and deserve to spend the rest of my life doing exactly what I love.  The art world has not caught up yet, but so be it.  This is my passion and my life’s work and nothing will change that.

20.  Because thanks to the internet and via social media, my work can be seen in places I have never been to and probably will never go.

21.  Because I would like to be remembered.  The idea of leaving art behind for future generations to appreciate and enjoy is appealing.

Comments are welcome!

Q: Who are you and what do you do? (Question from “Arts Illustrated”)

At the studio
At the studio

A: Here is my professional bio.

I am an American contemporary artist and author who divides my time between residences in New York City and Alexandria, VA.  I am best known for my pastel-on-sandpaper paintings, my  eBook, “From Pilot to Painter,” and this blog, which now has over 70,000 subscribers!

Friends say that I have led an extraordinary, inspiring life.  I learned to fly at the age of 25 and became a commercial pilot and Boeing-727 flight engineer before joining the Navy. As a Naval officer I spent many years working at the Pentagon and retired as a Commander.

On 9/11 my husband, Dr. Bryan C. Jack, was tragically killed on the plane that hit the Pentagon.

I use my large collection of Mexican and Guatemalan folk art – masks, carved wooden animals, papier mâché figures, and toys – to create one-of-a-kind pastel-on-sandpaper paintings that combine reality and fantasy and depict personal narratives.   In 2017 I traveled to Bolivia where I became inspired to paint Bolivian Carnival masks. 

My pastel paintings are bold, vibrant, and extremely unusual.  Perhaps my business card says it all: “Revolutionizing Pastel as Fine Art!”

I exhibit nationally and internationally and have won many accolades during my 30+ years as a professional artist.  For additional info, please see the links in the sidebar.

Comments are welcome!

Pearls from artists* # 450

On the road in Bolivia

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

All the journeys that have transpired in my life have been animated by interest. Something or someone has stopped me in my tracks. Interest, that thing that cannot really be faked, is an invitation to adventure. It has always been disorienting to do but I have to act on these interests. Somehow I know that in order to keep on working as an artist, I have to keep on changing. And this means that when interest is piqued, I must follow or die. And I know that I will have to hang on tight for the ride. These rides have changed me irrevocably.

The primary tool in a creative process is interest. To be true to one’s interest, to pursue it successfully, one’s body is the best barometer. The heart races. The pulse soars. Interest can be your guide. It always points you in the right direction. It defines the quality, energy and content of your work. You cannot feign or fake interest or choose to be interested in something because it is prescribed. It is never prescribed. It is discovered. When you sense this quickening you must act immediately. You must follow that interest and hold tight.

… If the interest is genuine and large enough and if it is pursued with tenacity and generosity, the boomerang effect is resounding. Interest returns volley to affect your life and inevitably alter it. You must be available and attentive to the doors that open unexpectedly. You cannot wait. The doors close fast. It will change your life. It will give you adventures you never expected. You must be true to it and it will be true to you.

Anne Bogart in A Director Prepares: Seven Essays on Art and Theatre

Comments are welcome!

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