Artist Portfolio

Barbara Rachko

Album: Domestic Threats 1/6

View Image Details "He Just Stood There Grinning," soft pastel on sandpaper

"He Just Stood There Grinning," soft pastel on sandpaper
"He Just Stood There Grinning," soft pastel on sandpaper
1995, 58" x 38" image, 70" x 50" ramed
(paintings sold framed)

View Image Details "Scene Fifteen: Living Room," soft pastel on sandpaper

"Scene Fifteen: Living Room," soft pastel on sandpaper
"Scene Fifteen: Living Room," soft pastel on sandpaper
2002, 26" x 20" image, 35" x 28.5" framed
(paintings sold framed)

View Image Details "Scene Nine: Living Room," soft pastel on sandpaper

"Scene Nine: Living Room," soft pastel on sandpaper
"Scene Nine: Living Room," soft pastel on sandpaper
1999, 20" x 26" image, 28.5" x 35" framed
(paintings sold framed)

View Image Details "Scene Nineteen: Living Room," soft pastel on sandpaper

"Scene Nineteen: Living Room," soft pastel on sandpaper
"Scene Nineteen: Living Room," soft pastel on sandpaper
2006, 20" x 26" image, 28.5" x 35" framed
(paintings sold framed)

View Image Details "Scene Thirteen: Bathroom," soft pastel on sandpaper

"Scene Thirteen: Bathroom," soft pastel on sandpaper
"Scene Thirteen: Bathroom," soft pastel on sandpaper
2002, 26" x 20" image, 35" x 28.5" framed
(paintings sold framed)

View Image Details "She Embraced It and Grew Stronger," soft pastel on sandpaper

"She Embraced It and Grew Stronger," soft pastel on sandpaper
"She Embraced It and Grew Stronger," soft pastel on sandpaper
2003, 58" x 38" image, 70" x 50" framed
(paintings sold framed)

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Album Description
"The Domestic Threats series of pastel-on-sandpaper paintings uses Mexican folk art—masks, carved wooden animals, papier mâché figures, and toys—in a lively blend of reality and fantasy. On trips to central Mexico I spend much of my time in the local mask shops, markets, and bazaars searching for the figures that will later populate my paintings. I enjoy the fact that I take objects with a unique Mexican past—most have been used in various religious festivals—and give them a second life, so to speak, in New York in the present. When I return home, I read prodigiously and find out as much about them as I can. I use these objects not only as surrogates for human actors, but as potent symbols: an amalgam of child hood memories, half-forgotten dreams, and images encountered in literature, pre-columbian art, and cinema (especially German silent films and movies by Alfred Hitchcock and Orson Welles). This work has been evolving for more than a decade. The imagery is autobiographical and very personal, but has universal associations."

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