| 1.08.15 |
Q: How do you think living in New York affects your work? |
| 20.12.14 |
Q: In the “Black Paintings” you create a deep intellectual interaction and communicate a wide variety of states of mind. I admit that certain “Black Paintings” unsettle me a bit. I see in this series an effective mix between anguish and happiness. Rather than simply describing something, these paintings pose a question and force us to contemplation. Can you talk about this aspect of your work? |
| 6.12.14 |
Q: Another interesting series of yours that has impressed me is your recent “Black Paintings.” The pieces in this series are darker than the ones in “Domestic Threats.” You create an effective mix between the dark background and the few bright tones, which establish such a synergy rather than a contrast, and all the dark creates a prelude to light. It seems to reveal such a struggle, a deep tension, and intense emotions. Any comments on your choice of palette and how it has changed over time? |
| 8.11.14 |
Q: Last week you spoke about what happens before you begin a pastel painting. Would you talk about how you actually make the work? |
| 19.07.14 |
Q: How long does it take you to complete a pastel-on-sandpaper painting? |
| 14.06.14 |
Q: How do you experience art in New York? |
| 1.03.14 |
Q: I just got home from my first painting experience… three hours and I am exhausted! Yet you, Barbara, build up as many as 30 layers of pastel, concentrate on such intricate detail, and work on a single painting for months. How do you do it? |
| 18.12.13 |
Pearls from artists* # 71 |
| 7.12.13 |
Q: What have you learned about the people of Mexico through your travels, reading, and research? |
| 24.11.12 |
Q: Why do you have so many pastels? |
| 17.11.12 |
Q: Does your work look different to you on days when you are sad, happy, etc.? |
