Barbara Rachko's Blog, page 133

Q: Reconnecting with an important source of inspiration, you recently traveled to the Gulf Coast of Mexico to study Olmec art and culture. Would you share some of your photographs?

Parque Museo La Venta, Villahermosa

Parque Museo La Venta, Villahermosa

Parque Museo La Venta, Villahermosa

La Venta

La Venta

La Venta

Comments are welcome!

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Pearls from artists* # 86

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“Broken,” 38″ x 58,” soft pastel on sandpaper

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

When I’m working from a photograph, a transparency, or direct observation, I am always amazed at how much more I see as the painting progresses.  After I think I have completely perceived a particular area, something else reveals itself.  As the work continues, the level of awareness deepens.  The process takes it’s own time.  I have come to accept that time and not fight it.  I know that when I begin my work, no matter how hard I try, I’ll never observe as much on the first day as I will on the last.  Like life, the development will not be rushed, nor will there be full realization before completion.

Dr. Leopold Caligor, a prominent New York psychiatrist, says that he listens to tapes of recorded sessions with patients, he hears new things and gains deeper insights.  Each time he listens, more information is uncovered.  This process is repeated until understanding is complete.

Audrey Flack in Art & Soul:  Notes on Creating

Comments are welcome!

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Q: When was the last time you flew? Do you ever miss it?

Over the Gulf of Mexico

A:  I last piloted a plane out of Andrews Air Force Base in suburban Maryland, some years after I moved to Alexandria, Virginia.  It was in the mid-1990s.

Now and then I miss flying, but my interests have changed considerably and I am much more passionate about art than aviation.  I still love physically being in the air – on an airliner, in a helicopter, etc. – and sometimes I dream about taking a few lessons to become reacquainted with flying small planes again, but I haven’t taken any action.

Comments are welcome!  

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Pearls from artists* # 85

Studio

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

Credo 

I believe in art.

I do not believe in the “art world” as

it is today.

I do not believe in art as a commodity.

Great art is in exquisite balance.  It is

restorative.

I believe in the energy of art, and through

the use of that energy, the artist’s ability

to transform his or her life and, by ex-

ample, the lives of others.

I believe that through our art, and through

the projection of transcendent imagery, we

can mend and heal the planet.

Audrey Flack in  Art & Soul:  Notes on Creating

Comments are welcome!

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Q: You have spoken about learning to fly at the age of 25. What airplanes did you fly?

Cessna 150

A:  I learned to fly at a small airport in Caldwell, NJ.  Flying is expensive and since I didn’t have much money, I sought a job at Liberty Aviation, the local flight school, in exchange for flying lessons.  For every three hours I worked, I earned a flying lesson.  At the time it cost $25/hour to rent a plane, plus $10/hour for an instructor, and I was fortunate to find an excellent flight instructor who offered to teach me for free. 

After I completed ground school at Clifton High School, I took my first flying lesson.  It was on April 1, 1978 in a (two-seat) Cessna 150.  During the following months I flew every chance I could, in Cessna 150s and newer Cessna 152s, and also occasionally in Piper Cherokees.  On September 24, 1978 I received my private pilot’s license. 

Then I got checked-out in a larger (four-seat) Cessna 172.  For my instrument training I flew Cessna 150s and 172s.  I received my instrument rating in April 1979. 

Next I trained for a commercial pilot’s license and a multi-engine rating.  I flew Cessna 172s and a twin-engine Piper Seminole and obtained my license and rating in May 1980. 

In December 1980 I began Boeing 727 flight engineer training at Flight International in Atlanta, GA.  Most of this was in Boeing-727 flight simulators with Delta airline pilots as instructors.  My check-ride was in a Boeing-727 owned by FedEx.  I received my flight engineer’s certificate in February 1981.  At the time I was the only woman in the entire school!

Comments are welcome!

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Pearls from artists* # 84

My Alexandria living room

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

I have a stockpile of sculptures, paintings, and drawings – every work of art I have made that has not sold – in a storage space for which I pay every month as regularly as I pay my utility bills.  This is a sensible arrangement, as I can leave this work to my children.  Most of the time I never give it a thought, but this morning it flashed across my mind that if it were blown away I would be bereaved in a way that would hurt me very much.  I have not been inordinately materialistic, but I am attached to my house, to my inherited belongings, and to the things that I have chosen for myself.  All these objects add complexity to my emotional ties to people with whom I have shared, and share, my life, and to my aspirations for myself.

Anne Truitt in Turn:  The Journal of an Artist 

Comments are welcome!

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Q: Do you have any advice for a young painter or someone just starting out as an artist?

Studio

A:  As artists each of us has at least two important responsibilities:  to express things we are feeling for which there are no adequate words and to communicate to a select few people, who become our audience.  By virtue of his or her own uniqueness, every human being has something to say.  But self-expression by itself is not enough.  As I often say, at it’s core art is communication.  Without this element there is no art.  When artists fail to communicate, perhaps they haven’t mastered their medium sufficiently so are unsuccessful in the attempt, or they may be being self-indulgent and not trying.  Admittedly there is that rare and most welcome occurrence when an artistic statement – such as a personal epiphany – happens for oneself alone. 

Most importantly, always listen to what your heart tells you.  It knows and speaks the truth and becomes easier to trust as you mature.  If you get caught up in the art world, step back and take some time to regain your bearings, to get reacquainted with the voice within you that knows the truth.  Paint from there.  Do not ever let a dealer or anyone else dictate what or how you should paint. 

With perhaps the singular exception of artist-run cooperative galleries, be very suspicious of  anyone who asks for money to put your work in an exhibition.  These people are making money from desperate and confused artists, not from appreciative art collectors.   With payment already in hand there is no financial incentive whatsoever for these people to sell your paintings and they won’t. 

Always work in a beautiful and special place of your own making.  It doesn’t need to be very large, unless you require a large space in which to create, but it needs to be yours.  I’m thinking of Virginia Woolf’s “a room of one’s own” here.  A studio is your haven, a place to experiment, learn, study, and grow.  A studio should be a place you can’t wait to enter and once you are there and engaged, are reluctant to leave. 

Be prepared to work harder than you ever have, unrelentingly developing your special innate gifts, whether you are in the mood to do so or not.  Most of all remember to do it for love, because you love your medium and it’s endless possibilities, because you love working in your studio, and because you feel most joyously alive when you are creating.

Comments are welcome!

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Pearls from artists* # 83

West 29th Street studio

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

The world can make no response to meet art.  Praise can miss the point as much as a casual remark such as I heard last night:  an impeccably turned-out gentleman bounding up the stairs to the gallery exclaimed over his shoulder, “And now to see the minimalist – or maximalist!”  He had all the relish of a casually greedy person with a tasty tidbit in view; he was on his way to gulp down my life with as little consideration as he would an artichoke heart.

Do I wish, can I afford, in my own limitations, to continue to make work that has such a high psychic cost and stands in jeopardy of being so met?  Do I have a choice?  I do not know.  Neither whether I can further endure, nor whether I can stop.  The work is preemptory.  My life as led me to an impasse. 

Anne Truitt in Turn:  The Journal of an Artist 

Comments are welcome!

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Q: What’s on the easel today?

Pastel painting in progress

A:  I’m working on a pastel painting started a few weeks ago.  It has a long way to go.

Comments are welcome! 

Filed under: Art Works in Progress, Black Paintings, Creative Process, New York, NY, Pastel Painting, Photography, Studio, Working methods Tagged: easel, long, pastel painting, started, today, weeks, working

Pearls from artists* # 82

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“The Sovereign,” soft pastel on sandpaper, 58″ x 38″

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

Art isn’t psychology.  For one thing art deals in images, not language.  Images precede language and are closer to feelings.  They summon feelings before they’re named and categorized, when they’re still fresh and sometimes hard to recognize or identify.

For another thing, to translate his vision an artist uses materials that are, for lack of a better word, alchemical.  Paint, for example, has this wonderful, mysterious quality -  a smell and a sensuous, velvety feel and an ability to hold color and light – that unlocks and speeds up one’s creative metabolism.  And paint captures my every impulse – from my broadest conceptions to the tiniest ticks and tremors of my wrist.

There are literally no words to describe what occurs when an image suddenly and unexpectedly appears on the canvas.  Sometimes it’s serendipity, the result of a fortunate brushstroke.  Sometimes I think it has to do with the inherent qualities of paint, or the slickness of a surface, or the fullness or acuity of a brush.  And sometimes when I’ve got a good rhythm going and everything comes together, I feel as though it produces the purest expression of who I am and what I am and how I perceive the world.   

Eric Fischl and Michael Stone in Bad Boy:  My Life on and off the Canvas

Comments are welcome!

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