Where am I at on those 2009 goals?

Ah yes, those goals for 2009 - the ones I said I would post, and here it is March and I haven't done that yet - oops! Even though they were not listed here (yet), I've still been doggedly chasing them.

March 1st, can you believe it's already that late in the year? We're in the final month of winter!

Bound and determined not to let all the bad stuff in the news get the better of me, I gave myself a rather ambitious list to try to conquer. Odd thing is, the ones that seemed impossible are pretty well in my pocket, while the ones that seemed rather straight-forward are proving to be more elusive. Time to get more firmly on-track.

Those Goals
1. -4 new Galleries
2. -2 solo exhibitions in 2 major NW cities
3. -75% of art income from online sales
4. -Build studio inventory to 40 pieces and maintain that number
5. -Go to Scotland! (my one high-flying dream-big goal)
6. -Build on ability in oils, increase proficiency

Now - here we are beginning Month 3 of the year, so where am I in all that? Not where I thought I would be, that's for certain! The one I thought would be inaccessible, #5 going to Scotland, is mostly in the bag. Plane tickets purchased, part of the itinerary hashed out, some friends to meet up with, spending 3 glorious weeks exploring the country. I'm not overly worried about this one any longer.

#4 inventory is proving to be a tough one to conquer. Most of what I'm doing, from January til now, is commissioned work. The few pieces that are not commissioned work that I'm working through are destined to galleries - current galleries that carry my work and galleries that have asked to carry my work. a 40-piece inventory could be the one that will remain just out of reach unless I figure out a way to feed that without neglecting galleries and commissioners.

#1 Four New Galleries. I have them in sight, they are ones who approached me. There's one in British Columbia who has the patience of a saint, but she will have her pieces soon. One in Idaho will be receiving 12, and I am struggling to supply those before the close of winter. There's a museum gift shop in New Mexico that will be carrying them as well, this Spring. There's another in Olympia, and I'm shooting for Spring with that one as well.

#2 Shows in NW Cities. I have not pressed forward with this one yet. It is completely reliant on that pesky goal #4 and getting sufficient good work to show. This one comes into play when that one gains some ground. I am scheduled, however, for a local gallery show in December - so although it's not a major city and not a solo (there will be at least two of us) it's a scheduled show.

#3 Sales mostly being from on-line. that one seems a bit sticky, doesn't it? Actually, that one is already achieved. Nearly all the work I'm doing now is commissioned pieces from folks who contact me through my website. I've laid groundwork in inbound marketing and making these visible on the internet, and have been striving to make myself findable online. So far so good. Bricks sales are not doing well right now, but people are shopping online.

#5 was the one I thought would be the most unreachable, so consequently that one's been heaviest on my mind. Because I've been thinking about it, scheming on how to pull it off, working out the steps and details to make it a reality, that is the one that is the closest to fulfillment.

So I think the lesson in that is pretty clear: nothing's unreachable if you're willing to do the work to make it happen. But you will get out of it exactly what you put into it, no more and no less. And that goes for all the goals on my list. So with that, I'm taking my hand-written list and tacking it above my art table. Every single day i will ask myself, "What will you do today to bring each one of these closer to completion?" They don't have to be big moves, even little things will bring you a little bit closer. But you can't do nothing and expect to attain something. It's just that simple.

Time to bring these other things up to par.

make a video slideshow of your art

I've been neglecting this blog again, but trying to get better at it.

What ways have you been trying to show your artwork? Have you been attempting the social media circles, Facebook, Myspace, Twitter? How about Youtube?

I've been dabbling in all of those, and recently worked up the courage to try creating a video of sorts. I've been seeing my paintings frequently popping up in videos and slideshows, and so thought it necessary to create one so that viewers would know where to find more... many play with creating these, but don't list their image sources so it becomes a dead end for the original artist who created the work.

Shop around. There are a lot of inexpensive programs, and also free ones that do a decent job at putting together a video. I used Photo Story 3 for Windows. Yes, my computer is so old I did not have this or any other already existing on my hard-drive, I had to go out looking for it. It's a little clunky, at least on my machine. Every time I previewed the video within the platform, the playback would run at a slightly different pace and alter the timing between image and music. Once you save the video and play it back in Windows Media Player, then you can see the true timing and pace. The program also comes with a lot of transitions to play with. I only used a few, as I didn't want those to take center-stage. Keep it clean and simple.

Here's my attempt at it. The video runs a bit long, but the music fits the work well and will hopefully carry the interest through. I still have a few timing issues in there, but - it's a start!

"Painted Feathers" on YouTube

Go on - play with making a video yourself! It's a great way to show your art in a different format. Here are some things to keep in mind when doing so:
-Remember to list your pertinent info at the beginning and at the end, so that people wishing to see more can find you. If you're Youtubing it, also put that info in the video description.
-Don't get too crazy with the transitions... remember, the focus should be on your work. Keep it simple and smooth, allow the viewer to enjoy the images.
-If you're doing motions across an image, don't zoom in too tight on one part of the image... you don't want to force the viewer to look at one small part, it may not be the part they wanted to look hard at.
-If you've a wide variety of work, pick out images with a common theme and use only those. You can always make another video with another group of images.
-Select audio that really fits the mood you're trying to create. There's nothing worse than clicking into a video and being bombarded with music that absolutely Does Not Fit what's going on in the video.
-Credit your sources.

Video is becoming more and more prevalent on the internet, and a lot of hosts and platforms are now supporting it. Blogger has a video upload feature now. Homestead web hosting has also incorporated Youtube and video uploading to their website-building software. It's everywhere, and it's a great way to get your work out there. Browse around on Youtube at other artists' videos to get some ideas on presentation; you'll find a wide range of possibilities.

If I can figure out how to do it (cheaply!) I want to do a time-lapse video, showing a painted feather from start to finish. Do you have any suggestions for such a thing? if so, I'd love to hear about it.

Inceasing Value and Quality of Studio Time

"Bugle Call" on peacock wing feather, available at Lucas Art Gallery, Graham WA




How do you enable yourself to stay at work for long hours in isolation in your studio? Have you found means through good music, scented candles, maybe a radio show? Do you find your enthusiasm waning after several hours with no one to speak to or listen to?

It's a problem that I'm sure all of us encounter from time to time. One can only take so much isolation at work with our craft before we just have to get out, have someone to talk with, see something different. Breaking up the monotony is most definitely needed with some degree of regularity, lest the very quality of our work stagnate and grow stale.

I try to toss in variety wherever I can. During the cold, gray, dark winter months though, that can be a challenge. When the weather is bright and the days are long, a quick escape into the mountains offers immediate reprieve and refreshes the spirit - the scents on the wind, the bright sun, so many colours in nature around us. When skies turn a cold gray, though, and access to those hiking trails become challenges in their own right, not to mention the short daylight hours keeping us on shorter treks, I've turned to breaking up the monotony within the studio.

Music certainly helps a lot, and adds so much to the working environment. My tastes in music are a little obscure, centering heavily on Scots-Celtic, or Trad. The internet has made obtaining such music so very easy where it would have been nearly impossible without. A cheerful tempo comes through on the other end of one's brush and adds lively strokes to the painting itself. After a while, though, one again feels wanting... for something.

I found all new steam within audio books. This was something my husband had turned to back when he drove long-haul. Books on CD made long hours in a truck much more endurable. I thought I'd try this option in the studio. I began with "The Other Queen" by Philippa Gregory. I'm a sucker for an historic story, and was stuck between this and "Master and Commander". I must say I am amazed at how a good story well read and told can make the studio hours fly by! Even more so, at the end of the book I was amazed at the amount of production that had flown across my table!

Yes, I think I can spend the remainder of these dark months working away, and I don't think "cabin fever" is going to get the better of me as it once had. Now instead of selecting music labels, I'm also selecting book titles for studio time. I am looking forward to trips down to the library to see what sort of history books they might have on CD, or historic fiction- or any sort of adventuresome tale to liven up the work. Hmmm, a fifteen-hour book? Oh yes, I should think I can get a LOT of work done while listening to that!

Bracing for Growth

A friend does readings that I have found to be incredibly spot-on. Occasionally she generously offers a free one-card-draw with these Balance cards that she created. The card that haikujaguar drew for me in her one-card draw did come as a bit of a surprise. The Sapling. It's hard to think that business growth may still be very much in its sapling stage, but it very well could be.

This was her interpretation:
Wow, I almost feel sorry for you, because I drew the Sapling and that shows up at the beginning of big and lasting things, indicating that they're about to grow.

I don't know if you can handle much more growth at the rate your growth is growing!

So... um... I will look at this and say, "Please schedule in some rest time for yourself, or you will collapse in the orchard." :)

Being that business and professional pursuits were very much on my mind when I asked for a card, I can't imagine what else it would be, other than business and profession. Though I was hoping for a card that indicated travel and adventure! ;D

The best ways I can think of to be ready for further growth is improving one's workplace and streamlining how things get done.

I think that proper insulation of the studio definitely HAS to be on the must-do list sometime this year. The room is too frigid in winter to work in there, and too expensive to heat. The most I can do in there these days is stain mouldings and join frames. And that's a shame! It's a nice-sized room! Yes, must put some attention to this workspace and make it a better, more comfortable working environment.

With so many eagles and flags being requested, for veterans and for Scouts, I've gotten into the routine of having the mats, glass, and frames all ready to go - several of them - at any given time. It just makes production so much easier, because the formula for those never varies. Red and blue mats, with muted blue mat for the background; bullnose moulding, dark walnut stain. Keep it simple and straightforward, and the work-time will improve. Can't do that with everything else though, because the colours, themes, subject matter, and individual tastes are so varied! There's no buttonholing anything else. But at least with the single most popular, it's a set standard.

I haven't done it yet, but I do plan on charting incoming commissions- orientation, subject matter, customer's stats, need-by date, etc. It will be a tactile thing, hand-done on large paper and tacked to the studio wall. This is to hopefully help streamline things, but even more so to make sure that no one is missed. I'm very much a visual thinker, and if it's all drawn out and in front of me, I can more easily follow.

Email. I must apologize if I have not yet responded to your email! the holidays were overwhelming and I'm still trying to catch up. During all of last year my inbox was admittedly in a constant state of overwhelm- there were so many queries coming in as a result of that wandering painted-feathers email that I just could not get on top of it all and paint too. I'm tackling that problem.

I have divided up business emails in my inbox. I flag any email pertaining to business, from clear queries right on down to a simple friendly "hey, I like your work". All those little red flags greet me and tell me "HEY, you need to get on these!" When I respond to them, I move them to the "answered queries" folder. if I hear back from a person and it turns out that they would like to order, then that email and anything else they sent goes to the "active orders" folder. This way I can follow the conversation and keep up on the little details that they want to include in their commissioned piece.

Admittedly, it's bit cumbersome, but it's a start in organization. :)
Have you come upon any methods and techniques in dealing with business email that you've found extremely useful? If so, I'm all ears! ;D

2009 - Commit

Upon reviewing my goals for this year (which I will post later), I could see that some may be on the ambitious side. Ambitious, but certainly not impossible if the path is clear and the plans are well laid. Most are business related, but some are about personal growth and fun. In the wake of all that happened last year, I've raised the trajectory a bit higher, pushing a little further, and even shooting for something I've never done before.

With some intimidating plans in sight, how do I move forward and put it into action? If I think about one or two of these too hard, a pessimistic little voice nags at me- "What are you thinking? Aim a little lower, it'll be easier!" I start to think of all the reasons why I shouldn't try, things that could prevent any success.

Now aiming higher causes a natural hesitation in people and prevents them from proceeding - it can even cause "fear". Jack White wrote a great e-book for artists on that, called The Malady of Fear. As he has said several times, "water seeks its own level". If you want to move beyond that you have to push yourself. Don't accept "can't" and stay at your current level. As Hannah Moore once said, "Obstacles are those frightful things that you see when you take your eyes off your goal." So recognize them, but see them as hurdles to leap over or find your way around, don't look at them as brick walls preventing you from seeing your goal or from seeing the path ahead that will get you there.

I've summed up my actions on these goals this year in one word: Commit. This is most definitely an action word, one that requires strength and faith and determination. The dictionary defines "commit" in several ways, the relevant ones of which I will list and explain how I'll put them to work:

1. - to give in trust or charge; consign.
2. - to consign for preservation: to commit ideas to writing; to commit a poem to memory.
3. - to bind or obligate, as by pledge or assurance; pledge: to commit oneself to a promise; to be committed to a course of action.
4. - to do; perform; perpetrate
5. - to pledge or engage oneself: an athlete who commits to the highest standards.

I'm trusting my instincts and committing to these goals for 2009. A lot of thought and planning was put into them, and as long as I am committed to them and don't lose sight of them they can be achieved.

I have committed these ideas to writing to clarify how I'm going to get from "here" to "there". I have a cheap notebook specifically designated for that purpose. All the possibilities are jotted down when the thought occurs - any possible lead, time-frame, challenge, procedure or must-do - anything that pertains to these goals is recorded - whether by writing, drawing, pasting clips, whatever it takes to make it all very clear and to show me that these indeed are attainable.

One of my seemingly too-high-to-reach goals for this year is a trip to Scotland. Thinking on that one too hard definitely dredges up apprehensions. I've never been to the UK before. That's a long way to travel, and an expensive trip! Fear and apprehension make me want to back down, but I won't. I'm committed to it. I've already committed by ordering the event passport to The Gathering in Edinburgh. Where will I go beyond that? We shall see! But I do have a lot of ideas, and I'm building on them all the time. :)

Prints vs. Originals

I'm not yet making it to "weekly", but I'm trying. :)

I recently got in a conversation with an art publicity blogger about the necessity of good photos, the conversation being about prints and her reasoning being that good photos by a professional photographer would be the only approach to making proper prints of what I do.

My question to you is - would you be interested in purchasing a quality print of a painted feather, or do you prefer collecting the original framed artwork?

As it stands, good reproductions would be the only immediate reason I would have to invest in proper photography (aside from needed publicity material just a little further down the road). While my own photographic efforts are admittedly poor, they still seem to do their job on my website - which is show you the paintings and also give you ideas for commissions that you might like to request. My substandard photos haven't stopped the interest on the website, for many of you have requested existing paintings as well as placed requests for meaningful paintings to suit your needs. To be honest I've been painting at full-tilt all this year just to keep up.

Now I've a few artist friends who believe that prints degrade the original work, and somehow make the art trivial. Some will only sell original works in shows and galleries, and do the show circuit with a booth full or original one-of-a-kind graphites, inks, and paintings. They do quite well with heir high standard.

There is a downside to this though, as I've come to find out: if you only sell original work, your sales are limited to your speed of production. In other words, you can sell no faster and no more than you can physically paint. This is a ceiling that can only be broken through duplicity - reproductions of one kind or another.

If there is an interest in a series of reproductions, I will most definitely set to work in finding the right photographer for the job. Right after Christmas. The Christmas orders for original paintings are coming in at a steady stream, and I may have to wait for that post-holiday slack-time to do this right.

Resolution

As with many wayward blogs found throughout the internet, this one was begun with the best of intentions. But as it goes with many such blogs, this endeavour was moved to the back burner to make a little more room for pressing matters.

As many of you reading this already know, my artwork received a lot of international attention this year. The results of such mountainous exposure left me scrambling over the last several months - keeping up with contacts, interviews, orders, and what subsequently ended up being an overbooking of shows and exhibitions. the show schedule was by no means too heavy when it was originally set, but it turned out that way in the wake of everything else.

That being said, no more excuses! I believe I've adjusted to the new level of things, so I will be making blog entries at least once a week.

This weekend marks the last BIG show for me this year. It's the annual national exhibition, the Fred Oldfield "Celebrate Western and Wildlife Art" show. You can read the itinerary on the events page at the Fred Oldfield Western Heritage Center's website.

I must say I am just barely prepared, having had the happy problem of keeping up with orders instead of devoting most of my time to rebuilding inventory. Although new works will be few, I will be exhibiting some pieces that go in a new direction. These incorporate lithic pieces along with the feathers in multiple object mount presentations. They are themed around particular animals, and include extra adornments such as stone and bone beads, braided horsehair, leather, and bison wool. Buffalo, obviously, is one of those new pieces - and Wolf will be the other. I've others on the table, but sadly I don't think I'll be able to have them completed and framed in time.

The next blog entry will feature the upcoming Oldfield western and wildlife show, as well as the new lithic-feather combination pieces.

feather-painting article in Prague

Czech interview
This was exciting! The Blesk is a newspaper in Prague, and one of the largest papers in the Czech Republic. I was recently privileged to be interviewed by them. Sorry, the article is in Czech - I've utilized some of the online translators and they were, ... well, humourous!

The Blesk

Feathers to Australia
There has been an increase in international interest lately, including interest in purchase. That is one advantage of a weaker American dollar - one's product just becomes a little more financially friendly for others. I've received many queries throughout Australia, which prompted me to investigate the limitations in sending such items. this being on a "canvas" that is an animal byproduct, I knew that might be a concern. Australian customs has put me on the right path though, I've begun the process of permit to do so. So- if you're in Australia and have been interested, yes you can purchase one.

Wood Badgers and Boy Scouts
The next time you might be traveling down to Philmont Scout Camp in New Mexico, do stop by Cimarron Art Gallery, very near the Scout Camp itself. they specialize in a wonderful collection of Wood Badge critters in many products and lines. Very soon,they will also feature Wood Badge critters on painted feathers. Nine critters will be available for viewing, and the gallery will be happy to take orders. Because each is created upon request, there would be a 6-week turnaround. Bobwhite, Fox, Eagle, Owl, Bear, Buffalo, Antelope, or Raven will be available upon request.

New at Ocean Shores
"Patience" was delivered this week to Fusions Art Gallery in Ocean Shores, Washington. Below is a detail photo. As you look at it though, you begin to wonder... 'Patience' for whom? I got the idea for this painting down at Nisqually National Wildlife Refuge, where I spent considerable time watching the herons fish.



Fusions Gallery has recently gone through some visual changes inside and out and is looking very sharp! The website will be next up for an overhaul. Do stop in if you're headed out to the Shores, with over 80 artists on display they are well worth a visit.

Artists of the West - due out in May!

The coffee table book, "Artists of the West", should be available in about six weeks or so. Cameron Blagg has been working tirelessly on this, and it will have considerably more artists within than its predecessor, "Northwest Artists".

I'll have a page in "artists of the West". I have the proof in PDF format, so if you'd like to see my page, you can view it here.

Ocean Shores Annual Art Show
April 11 - 13, 2008 Ocean Shores, WA
I'll be doing demos in Artists In Action at this event. Initially I was going to be doing demos at Fusions Art Gallery that weekend, but the owners encouraged me to do the show instead. It's an indoor venue at the Convention Center, should be a lot of fun! Do check out Fusions when you're in town, it's a very dynamic gallery with a wonderful variety - well worth the stop!

Westport Art Festival - Aug. 18-19

The poster has finally arrived! This year's featured artists are Karen Lucas, Cameron Blagg, Mark Hoppmann, and myself.

"Cormorants", my feather featured on this poster, *will* be on display at the show - we have been careful not to let that one find a home before the festival. So if you would like to purchase a one-of-a-kind original painting that has been featured on an art festival poster, here's an opportunity!

We are, however, still waiting on postcards. They will be similar to the poster. We're all a little concerned, because they were due at Lucas Art Gallery last week but seem to have fallen into the Postal Service Black Hole. Knocking on wood, and hoping they arrive within the next couple of days... I have 200 postcard stamps just waiting for them.

In the meantime, I will be hanging this poster at the Coupeville Arts and Crafts Festival. That event takes place the weekend before Westport. August is going to be a very busy month!

ACEO Cards

Art Cards, Editions, Originals. It's a fun concept, and gives artists a chance to try new things - albeit in a tiny format. These cards are only 2-1/2" x 3-1/2", the standard trading card size, and fit nicely in sports-card sleeves. I have begun playing with production in these, and I must say they are really fun to do!

I've a few up on Ebay at the moment. My favorite in this batch has to be the Tlingit-style wolf, which you see here. Keep in mind the size, there's a lot of detail on this one.

For more of these little cards, go here.

Heavenly fragrance

I knocked the back of a hatchet with the back of an axe, and split into that big red cedar crosscut that I've had in my yard for the past year. I was pleased to see a trickle of water seeping from the cut as I forced the hatchet's blade deeper into the wood.

"Good," I thought. "Still good and green." It is important to keep the wood wet when working with traditional PNW tools and methods-- these were designed for wet wood. Puget Sound's weather did most of that for me, but there were a few times last summer when I hosed this wood down. One more hard blow, resulting in a sharp *CRACK!* as the cedar broke open cleanly and evenly. No wonder this wood is so utilized and so prized. The Tree of Life. The grain is straight, but it's coarse, not tight- a male tree.

I plunked two nice little hunks into a bucket of water on my patio under the deck. One will become a frontlet, and the other is yet to be decided. The fragrance of fresh-cut cedar fills my back yard. I've left my studio door open to enjoy that fragrance even more-- there is nothing on earth to equal the scent of fresh-cut cedar. The bucket sits next to a bag of rawhide, which waits to be turned into drums and other things. Should be a productive summer.

feather art

Arab Horse

A painting of a beautiful dapple-grey Arabian, as per his owners' request.

Order of the Arrow, Pt. 2

JOURNEY

This one was created for the purpose of fundraiser auction, to support the Conclave program for Section W1B. This will help fund program and events for next year's Conclave. Available for bid in Anchorage Alaska, W1B Conclave this coming weekend.

feather art

Order of the Arrow

This one was ordered for our Section's Chief, so the orca is appropriate. Look closely and you'll see the arrow and the "WWW" on the quill. Framed in black moulding with a dusty blue suede topmat, this piece will be on its way to Alaska this week.

art business - pricing

This came from Alyson Stanfield's blog entry. Short, to the point. -and very true!

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"The golden rule for pricing your art is . . .

Start low and go from there.

If you’re too high and later have to lower your prices, you appear unsuccessful and you also tick off anyone who purchased your work at higher prices. "

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Let me elaborate on this one from an art show standpoint--

I've watched artists at shows ( not this last one, these artists know better than that!) who get very discouraged at the end of a show because they did not do as well as they anticipated. So what do they do? They knock 10% - 20% off their prices on the last day! On top of that, some will even call that out to passersby: "20% off! This day only!" I rarely see people flock to that artist for a "bargain" when said artist does that. The truth of the matter is, that artist just succeeded in losing his credibility, his prestige, and possibly the respect of the customers. What happens when he returns to that show next year? Will the patrons remember the beautiful piece they had their eye on the previous year (that DOES happen!), or will they wait til Sunday because he's probably going to drop his prices? Or will they determine that he doesn't know what he's worth, he's not successful because he keeps changing his prices, and not buy from him at all because at this rate he might not even be around in a year or two?

Patrons won't buy from you just to have your art because you may not be around much longer. Patrons want you to be successful. They want to own a piece from an artist who they think is going somewhere. They don't want to pity you, they want to see your confidence! Don't sell yourself short. Don't drop your prices to try to bring in sales. And by all means, remember to keep your pricing consistant - in the gallery, in the show, and in the studio!

Wood Duck

Wood Duck

This is the last one I was able to complete before the Fair - a drake paddling contentedly on a quiet pond. I left the water effects dark and subtle, because the feather created so many water effects all on its own.

Spring Fair, Puyallup WA
If you happen to be going to the Puyallup Spring Fair here in western WA, please look me up! I will NOT be in Artists In Action like I was last Spring. This year I will be amongst several artists exhibiting in the Fred Oldfield Western Heritage Center. For those unfamiliar, that is the mustard-colored building just inside the Red gate. We have a full house in there! Nestled amongst the museum's antiques and artifacts are artists booths and walls of all shapes and sizes. Other artists exhibiting are Paul Langston, Judy Sleight, Karen Lucas, Dick Oldfield, Mark Hoppmann, Peggu Rowe, Hulan Fleming, Katherine Caughey, and Aletha Deuel - and of course, fred Oldfield himself.

Hours:
Thursday, April 19; 3pm - 10pm
Fri & Sat, April 20 - 21; 10am - 10pm
Sunday, April 22; 10am - 3pm
The Fair itself will continue going on Sunday til 7pm.

Quick Draws
Come watch us pull our hair out as we frantically work to create a piece of art in one hour's time! We begin this at 5pm on Friday and Saturday. The results of this toil will go through live auction at 6pm on Friday and Saturday. This is a great opprotunity to own an original work of art that you could watch being created.

Live entertainment
Musician Don Allard will be performing throughout Friday, Saturday, and Sunday. We will also be treated to Western music and poetry by the Rockin' HW on these days.

It's going to be a busy four days!

Pheasants

Ringneck Pheasant Pair





More experimentation with heritage turkey feathers. I like how those of the Royal Palm turkey are so very similar in coloring to the flight feathers of a male pheasant.

This was scanned on Bainbridge's dusk suede. I may try simple photography and see if those results come out any better.

How's Your Body?

...body of work, that is.

As we gear up for the deluge of art shows, festivals, and competitions that fill up the warmer months, we should always have an eye out for the next potential gallery representation. Usually it is best to approach these in Spring-- especially in areas prone to tourism-- before the high traffic hits the local businesses. When you do so, make sure your body of work is up to snuff. Author Robert Regis Dvorak puts it very well in his book:

Selling Art 101

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Body of Work
"If you are an artist who wants to sell your work, you need to have a body of work-- a number of paintings, prints, sculpture pieces, whatever you do, at minimum 12 to 20 pieces-- that look like they were done by the same person, all are about the same size, all are in the same medium, all are completed, and all have a contextual theme. Don't even attempt to go to an art gallery in search of representation unless you have that. Do not take an assortment of media, thinking that you will impress the gallery owner by your range of talent and skill. The work that you will show must be of the highest calibre-- only your very best work. Don't risk showing secondrate work.

"Think of the painters and sculptors who are well known-- Georgia O'Keefe, Mark Rothko, Willem De Kooning, Robert Rauschenberg, Helen Frankenthaler, Henry Moore, Andy Warhol, Alberto Giacometti, J.M.W. Turner. Each artist's work has unique subject matter, is consistent in medium, and has a contextual theme.

"Art Dealers are looking for new work. Do not imitate the success of others. If a dealer or critic sees a resemblance to another artist, you are not welcome. You may borrow knowledge and information, but you must do your own work.

"When you have a body of work and feel psychologically prepared to sell, be very discriminating. Pick your best, most original creative works and go for it!"
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Good advice. Good book, too.

Don't ever try to put the cart before the horse and think that oh, a half dozen will be good enough to get your foot in the door. While your work may be consistent and in keeping with the same theme, your prospective gallery representative may single one particular piece out and say, "I like this one. Do you have any more like this?" You don't EVER want to have to say, "This is all the work I have!" Make sure you have ample work.

It is also a good idea to have an ample amount of your artwork available for viewing online, sold works and current works. I have picked up gallery representation by way of works displayed on my website, but I have always had an adequate amount of work available or accessable when the gallery owner wants to personally see more.

The best rule of thumb is, do not set out looking unless you have those 12 to 20 pieces. The size of your works may also influence how many you'll need. If you work in a small scale like I do, you'll want to have at least 18 - 20. Just consider what it would take to dress out a 10 by 10 booth and you should be fine.

Kingfisher

Kingfisher ~on Peacock wingfeather~

These bold little guys are so full of personality and so much fun to watch when they fish.