May 2021 Featured Artist
Artist Offers a Unique Concept in Still Life
Pastel and Mixed Media Artist
Nancy Staub Laughlin
Nancy Posing with Her Work
© Nancy Staub Laughlin |
Nancy Staub Laughlin received a BFA degree from Moore College of Art. She is currently with Carter Burden Gallery in New York City. She has been recognized and honored at the New Jersey State Museum and is included in the permanent collection.
Her many accomplishments include exhibits at the Noyes Museum, NJ, Johnson & Johnson World Headquarters in New Brunswick, Bristol/Myers Squibb, and Prudential Corporate Gallery in NJ. Her work was also included in a select exhibit titled “Six New Jersey Masters” at Kean University’s Burger Gallery where she also had a solo exhibit. Nancy has received critical acclaim and reviews in The New York Times, City Arts, Gallery/Studio Magazine and a featured artist review by Renee Phillips, Manhattan Arts. She is also in the Spring 2021 issue of Catamaran Literary Reader: Literature & Art. Nancy is represented in many private and public collections and was honored to be chosen to be in the NAWA collection at the Zimmerli Art Museum, Rutgers University. Nancy received the Miriam Shorr Memorial Award, Works on Paper, through the National Association of Women Artists exhibition, "Open Horizons 2018." |
Her most memorable highlight was being reviewed by the late Sam Hunter, an art critic and acclaimed 20th century art historian, who found her work “refreshingly unique,” a common theme among many of her positive reviews.
Nancy’s newest series, which she refers to as “assemblages,” incorporates the photograph into the pastel drawing. These dynamic, layered, juxtaposing assemblages allow the viewer to enter her world of color, light, dimension and beauty from a different perspective.
Golden Sprinkle
Pastel on Paper, Mounted Photographs: 27 X 32 inches © Nancy Staub Laughlin |
In the Midst of the Flurry
Pastel on Paper, Mounted Photographs: 34 X 45 inches © Nancy Staub Laughlin |
Myrna Beth Haskell, executive editor, asked Nancy to comment on her work.
What drew you to working in pastel, and what do you love most about this medium?
I was a sculpture major and painting minor in art school. After college, I worked in a foundry in metal and plastics for two years. I had to endure the strong odors of solvents and plastics (with protection), but when I left, I could not have these toxic smells in my living space. I discovered pastels as a result. I fell in love immediately and haven’t stopped since.
What I love the most is the translucency and glow I can achieve with the medium. I can “mix” pastels like paint to achieve any color. I use my fingers for blending, and the quality and results are miraculous. I always joke that I may have rubbed off my fingerprints from so many years of blending.
What is difficult about working with pastel?
The most difficult aspect is making sure I use the proper hardness of pastel in the multiple layers of the drawing. If I use a hard pastel in the bigger blending areas with the soft, they will stick out because they cannot blend. I use many different brands of pastels - soft, medium and hard - to achieve the desired results. The hardest pastels are used more for refinement of edges.
It is imperative that you do NOT overwork the layers, or they become muddy and lose the vibrancy of the color. I try to get it right on the first try. You can erase, but not too much because it effects the “tooth” of the paper. I use an etching paper called Stonehenge. It absorbs the pastel beautifully and allows many layers. I do not add a fixative to my work. I am ‘anti-fixing’ because it ruins the color that I worked so hard to achieve. After completion of a drawing, the pastel is so blended, it becomes part of the paper, hence, very little dust falling to the bottom of the frame.
What drew you to working in pastel, and what do you love most about this medium?
I was a sculpture major and painting minor in art school. After college, I worked in a foundry in metal and plastics for two years. I had to endure the strong odors of solvents and plastics (with protection), but when I left, I could not have these toxic smells in my living space. I discovered pastels as a result. I fell in love immediately and haven’t stopped since.
What I love the most is the translucency and glow I can achieve with the medium. I can “mix” pastels like paint to achieve any color. I use my fingers for blending, and the quality and results are miraculous. I always joke that I may have rubbed off my fingerprints from so many years of blending.
What is difficult about working with pastel?
The most difficult aspect is making sure I use the proper hardness of pastel in the multiple layers of the drawing. If I use a hard pastel in the bigger blending areas with the soft, they will stick out because they cannot blend. I use many different brands of pastels - soft, medium and hard - to achieve the desired results. The hardest pastels are used more for refinement of edges.
It is imperative that you do NOT overwork the layers, or they become muddy and lose the vibrancy of the color. I try to get it right on the first try. You can erase, but not too much because it effects the “tooth” of the paper. I use an etching paper called Stonehenge. It absorbs the pastel beautifully and allows many layers. I do not add a fixative to my work. I am ‘anti-fixing’ because it ruins the color that I worked so hard to achieve. After completion of a drawing, the pastel is so blended, it becomes part of the paper, hence, very little dust falling to the bottom of the frame.
In the Midst of the Mist
Pastel on Paper, Mounted Photographs: 29 X 38 inches © Nancy Staub Laughlin |
Sparkling Water and Rain
Pastel on Paper, Mounted Photographs: 24 X 30 inches © Nancy Staub Laughlin |
Your still life work is a combination of pastel and photography which you call "assemblages." What was the inspiration behind using the two together? Your work in this area has great depth and contrast.
Before this series of combining the photograph into the pastel drawing, I worked exclusively in pastels. I create these stills by first gathering specifically chosen ‘props’ and combining them to create a 'new’ concept of the still life. My extensive collection of mirrors of every kind, glass objects in every shape, sheer fabrics, baubles and sparkles allows me to create the appropriate balance of translucency, layering and glitter. Photographs of landscape are also an added element, incorporated to serve as a natural counterbalance to the sparkle. I set up my compositions in strong light that creates intense shadows, vibrant color, reflections, and shimmering auras of light. The composition is then photographed to capture the moment. Many times, the photograph itself is rephotographed to add more sparkle or juxtapositions. I work from the photograph to create the finished pastel on paper.
After using this “process” for many years I needed a change. I had a brainstorm one night about how I could incorporate the photograph into the pastel drawing. The next morning, Ingrid Fox, former curator at Pfizer who wrote the introduction to one of my catalogues, called me. She asked, ‘Have you thought of incorporating the photograph into the drawing to add a hard edge and contrast?’ The rest is history. I had to rethink how I would incorporate the photograph because I did not want it to be too literal. The photographs became a way to add the ultimate sparkle and light to the drawing.
Before this series of combining the photograph into the pastel drawing, I worked exclusively in pastels. I create these stills by first gathering specifically chosen ‘props’ and combining them to create a 'new’ concept of the still life. My extensive collection of mirrors of every kind, glass objects in every shape, sheer fabrics, baubles and sparkles allows me to create the appropriate balance of translucency, layering and glitter. Photographs of landscape are also an added element, incorporated to serve as a natural counterbalance to the sparkle. I set up my compositions in strong light that creates intense shadows, vibrant color, reflections, and shimmering auras of light. The composition is then photographed to capture the moment. Many times, the photograph itself is rephotographed to add more sparkle or juxtapositions. I work from the photograph to create the finished pastel on paper.
After using this “process” for many years I needed a change. I had a brainstorm one night about how I could incorporate the photograph into the pastel drawing. The next morning, Ingrid Fox, former curator at Pfizer who wrote the introduction to one of my catalogues, called me. She asked, ‘Have you thought of incorporating the photograph into the drawing to add a hard edge and contrast?’ The rest is history. I had to rethink how I would incorporate the photograph because I did not want it to be too literal. The photographs became a way to add the ultimate sparkle and light to the drawing.
The Color of Snow
Pastel on Paper, Mounted Photographs: 38 X 41 inches © Nancy Staub Laughlin |
Please describe your piece "The Color of Snow.” This is one of my favorites. The Color of Snow landscape is of a snowy day on a dirt road in the Adirondacks. I see color in just about everything…the sparkle layered photographs mimic the snow crystals falling. If you look closely at the sparkle, you can see the falling of the glitter. The crystal beads are another way to show the beauty of the snow falling. I love the layering and shadows. I created marvelous color on a very black and white day. |
The Sparkling Waves and Blossoming Snow
Pastel on Paper, Mounted Photographs: 28 X 35 inches © Nancy Staub Laughlin |
The Color of Precipitation
Pastel on Paper, Mounted Photographs: 29 X 39 inches © Nancy Staub Laughlin |
How would you describe your style?
This is the hardest question of all, but most critics have said, ‘I’ve never seen work like this’ or ‘Nancy’s style is as distinctive as a signature.’ When I submit to exhibitions that request a style category, I am at a standstill. So, I would have to say - ‘original.’
My assemblages are created by layering juxtaposing elements: nature vs. glitter. The viewer is immersed into my glowing, dazzling world of color, light, dimension and beauty. The effects are invigorating and enlightening and allow the viewer to pause and restore. These compelling compositions are the culmination of many carefully executed steps that define my unique creative process.
This is the hardest question of all, but most critics have said, ‘I’ve never seen work like this’ or ‘Nancy’s style is as distinctive as a signature.’ When I submit to exhibitions that request a style category, I am at a standstill. So, I would have to say - ‘original.’
My assemblages are created by layering juxtaposing elements: nature vs. glitter. The viewer is immersed into my glowing, dazzling world of color, light, dimension and beauty. The effects are invigorating and enlightening and allow the viewer to pause and restore. These compelling compositions are the culmination of many carefully executed steps that define my unique creative process.
Glowing Light Amongst the Pink
Pastel on Paper, Mounted Photographs: 27 X 38 inches © Nancy Staub Laughlin |
Sprinkle of Spring Sparkle
Pastel on Paper, Mounted Photographs: 30 X 42 inches © Nancy Staub Laughlin |
Flowering, Froth and Flurries
Pastel on Paper, Mounted Photographs: 28 X 36 inches © Nancy Staub Laughlin |
What is the accomplishment you are most proud of?
I am very proud of being written about by Sam Hunter, art historian, art critic, emeritus professor art history, Princeton University. He came to my studio many times at Princeton to interview me and catch up on my new work. I was lucky to have met him. I will also say that I am proud of so many accomplishments that I have earned from persevering and working hard. I always say to my kids, ‘Being an artist is like applying for a job every day.’ Not only do you have to be talented, but you have to be the squeaky wheel to get your work out there. |
Where do you find sanctuary?
I find sanctuary being on our farm and gardening. There is nothing more gratifying to plant, tend, prune, dig and see the beauty in what you have created. My gardens are in the archives of Gardens of America at the Smithsonian. My other sanctuary is being in the water - paddle boarding, windsurfing and swimming. I love being one-on-one in the wild, seeing dolphins go by or an eagle soaring in the sky.
I find sanctuary being on our farm and gardening. There is nothing more gratifying to plant, tend, prune, dig and see the beauty in what you have created. My gardens are in the archives of Gardens of America at the Smithsonian. My other sanctuary is being in the water - paddle boarding, windsurfing and swimming. I love being one-on-one in the wild, seeing dolphins go by or an eagle soaring in the sky.
The Sparkling Drops of Rain
Pastel on Paper, Mounted Photographs: 24 X 39 inches © Nancy Staub Laughlin |
