How Can I Help You To Succeed?

Yes, I spent the day enjoying the sun yesterday. Yes, I burnt my face. Yes, I wish I could be outside today.
But there's no point brooding about what I am missing. Let's talk about all the positives.

My sign is up on the ferry what do you think? Don't why it's a bit blurry in the pic.

 I'm really happy with it. I think it stands out nicely against the other signs. Let's hope it has the desired effect and brings visitors to my door in hordes. They in turn will tell people and then the word will spread. Then rich people will realise that Swanage has more art galleries than Bournemouth and there are some hidden gems of local talent. Then our fortunes will be made.

It has been said that I'm dreamer, but I like to think I'm optimistic. I'll keep you updated with the how much my sign is seen.

It has been a busy weekend and today is looking pretty good as well. Lots of people loving Jim's work, all I have to do is persuade them that they love it enough to buy it and take it home with them.
I think that is an absolute piece of cake. I'll keep you updated about how that works out for me too.

I will get back to some practical blogs this week, I am open to suggestions. Apparently helping other people to succeed is the first step to your own success. I am aiming to be successful, so how can I help you?
Remember I've got 15 years of teaching under my belt.

Jim Hunter A Great Exhibition!

I am thinking of livening up my day by running a sweepstake on what is the quickest time for a visit  to the gallery. They vary anywhere from 50 seconds to 10 minutes. That's an awfully big difference. One has to wonder what you actually see in 50 seconds. The truth is probably just enough to realise that it is not for you. How can you tell with such a cursory glance? Super quick art appreciation.

I want to tell you how great this exhibition is because it is great. It might actually be my favourite this year bar my own of course but that kind of goes without saying. I think it makes such a difference when an artist fully embraces the idea of their exhibition and carefully considers the way they want it to look. The crisp white frames beautifully encapsulate the  loose watercolour and collage. It's a uniformity of approach which made this exhibition such a joy to hang. I have said it before and I will say it again. The way you present your work really does make all the difference, see for yourself.

It continues to be busy, which is great. Good feedback about the work. It definitely helps that the weather forecast predicts a good consistent run of good weather. People are far more likely to visit galleries and not just the beach.

I have spent the last two hours tearing and folding pages for a a new handmade sketchbook which I will get bound in the next couple of weeks.

I really like using my own sketchbooks, the one I made today has all different kinds of paper in it.

I hope that you have got plenty of outdoor activities planned for this weekend. I intend to spend the day at the beach tomorrow. Not sure about getting in the see though.

Is The Recession Squeezing The Life Out Of Art And Artists?

I arrived at work yesterday to find an envelope packed with 'Thank You' postcards from St Georges School, Langton. I taught there a couple of months ago and the work that they produced won them a Silver Medal in the PAW Awards. It was a lovely way to start the day, far better than the usual bills.

I am continuing the debate about pricing work as it continues to be at the forefront of my mind. I know I explained how I price my work. I won't be repeating that, but feel free to look at the blog post that was about that specifically.

Is it true that something is worth whatever someone is willing to pay for it? I am starting to wonder whether there should be a reserve price that must be met then people can pay whatever they value the work as on top. A gallery run by the same principle as Ebay. I think it could work, I have to say that I would not like to be the one who had to organise it.

Why raise this point? I obviously am privy to conversations people have about the work in the gallery between themselves. I hear them say 'I would be willing to pay £350 but £500 is a bit too much'. Yes, in theory I could meet them in the middle to a certain extent. But they also have come to some kind of conclusion about their perceived value of the work. I don't know whether or not we should be listening to this?

If I didn't have to make a living from it I would be tempted to put on a 'priceless' mixed exhibition. Make the buying public think about the value of the work that they can see. No sensible offer refused.

I have spoken to 'famous' artists who are telling me that they are struggling to sell their work. Should art become more affordable in a recession? To encourage sales? Should gallery owners acknowledge this and publicise the fact that there are bargains to be had. Cheaper prices and less commission?
I am being deliberately contentious, but if no one is making money artists and gallery owners alike what can be done about it?

Is it more important to get the work sold? Rather than ending up with the work that lives under the bed scenario and galleries closing down.

You could argue that it would be better to have many more smaller value sales than none at all? Alternatively, offer terms, but this does add another level of admin, I have no desire to become a debt collector.

What would make you change your mind and buy a piece of art that you loved but couldn't really afford? A discount? An assurance that it would be an investment? Meeting the artist and creating a relationship with them about the art?

Answers on the back of a postcard. You may need a second mortgage to pay for the stamp.

Publicity...Get It Anywhere You Can!

I lied, here it is again.

If you want people to know about you that is of course. I have tell you that you cannot under estimate the power of publicity. I went for a blood test this morning and the nurse asked what I did, and before I could answer she said 'I know what you do, you own a gallery, I saw you in the paper'.

I have just had to remind artists that in order to get people to their exhibitions that they need to get out there and spread the word.

What's that you say? Isn't it obvious that they should self promote? You would have thought so but not everybody does. You need to spread the word via every possible means. Put it on your website, your Facebook page ask your friends to 'share' it., Tweet it, blog about it. Get an ad in your local paper or contact them on the off chance that they could help to publicise your exhibition. Try contacting Art publications, some can put you in their listings for free. Contact people who have bought your work in the past. See if art shops will put a poster up, or display your postcards.

There are many ways to make sure people now about your exhibition but it takes time. It will pay off in the long run. The more people who see your work the wider the word will spread.

In attempt to get his fantastic new show noticed I will now tell you that Jim Hunters new exhibition is up and running. It is fantastically strong. You should definitely get along to see it.

Jim Hunter

A Man With A Turban Walks Into The Gallery........

Jim Hunter

A man with a turban on walks into the gallery..........what does he say?

No it's not a joke, this actually happened.

'I am the worlds best fortune teller, let me please tell you your fortune' is what he said.

I said 'No Thanks'. He shrugged and left, who knew the Worlds Best Fortune Teller was alive and well and pounding the streets of Swanage being rejected at an alarming rate. And I think that I have a difficult job.

Backseat blog, that's what it has become. The truth is that so many people are still reading the previous posts I have used the breathing space to get some much needed work done. But I know how people worry that it is call coming to an end. Fear not, I'll be back boring you on a regular basis before you know it.

Just a reminder that I am a one woman show. Every single business responsibility stops at my door. It is  keeping me well and truly on my toes. Maybe I should install a foot spa under my desk?

I have no real big informative blog for you today just going to keep you informed of all the latest gallery developments.

Debbie Lee will be giving a talk at the gallery tomorrow at 11.00, it will be followed by a storytelling workshop. Please do come along as it should be a great way to spend a few hours. The best thing is it is FREE!

I have just got off the phone to Jan Dagley who is exhibiting here at the beginning of August. She has decided to have an art sale, an eclectic mix of her back catalogue as part of her exhibition. One wall will be full of works for under £150. I strongly urge you to add this to your list of exhibitions to come and see in August.

I have had a sneaky peek at the new work by Jim Hunter. I have to tell you it is magnificent. I can't believe that it has all been produced in the last 12 months (ish).
The work is light and bright and bold. Come and see it for yourself on Saturday at 6.00.

I am getting a sign on the Sandbanks Ferry. I hope that it will bring many new visitors through the door. I have to say that I am 'over' designing this week. It has been very full on, and it means that there is an awful lot of computer staring. Yawn!

Commercial Artist or Fine Artist? You Decide.

Why doesn't anybody buy my paintings of children being beheaded and chased by Demons of the Underworld in this quaint gallery in a seaside town?

I think that's as good a question as any. Can you be a commercial artist and a fine artist? What exactly is the difference?

One produces work specifically to sell, one produces work they hope will sell to someone, somewhere at some point. Is that the difference?
One works with a specific audience in mind, the other works because they are driven to do it. Is that the difference?

What are the driving forces behind the work? Money? Passion? Necessity? I know that I am deliberately asking and not answering lots of questions. These are questions that I am asked really often.

Can you be true to your artistic self whilst pursuing commercial gain? Do you have to sell out? Should you develop an alter ego whose work you tout that caters for a more commercial market?

The thing is we all have to eat, pay mortgages, rent, bills etc. What is more important to you, being recognised as a mover and a shaker in the art world? Or regurgitating several variations on a theme that conform to an accessible aesthetic and a regular income? That is not undersell the latter because the skill involved in that particular formula is not to be sniffed at.
Can you do both?

These are all questions that I think should be up for discussion. People get disappointed when they don't sell much work at an exhibition (understandably so I hasten to add). I have been there and done that. But let me bring you back to the opening line of this particular blog. Would you want that picture in your lounge if it did in fact exist? I'm not so sure, but is there an audience for that kind of art? Of course there is. But this brings us back to an earlier blog, do your homework and find where you think your potential best audience might be. I would possibly suggest a 'Weirdo Convention' for that particular image.

Artists have asked me in the past what I thought they could paint that would sell. You can imagine that I have absolutely no response to this. I think that I may have mentioned before that I feel that we respond to art subconsciously as well as consciously. I believe people engage with the passion, enthusiasm behind the work. That must count for something.

Does this mean that artists have to make decision? The jury is out as far as I am concerned. Personally, I make art that I feel driven to make and I hope that people like it enough to buy it. Which they have and do. Do I make a living from it? NO! But I do however make a living from art so I feel that I am very lucky to do so.

I am posing all of these question in the hope of starting some discussions about this as I think it could be useful and informative. Feel free to comment.

How Do You Price Your Work?

What is the value of your art work? This is such a contentious area because it is reliant on so many factors.
The first thing I think that needs to happen is as an artist you have to be honest with yourself. I understand that there is an attachment that forms between an artist and his/her work. You wouldn't willingly sell your children (on a good day). But that is how it can feel, something that you have slaved over now must be given a price tag. It is a necessary evil, this is where the honesty comes in. Ask yourself the following:

• You say that a painting (for example) was two years in the making. In real terms how much time did you actually spend?
• Did you produce other works in between?
• Did you spend 8 hours a day for 104 weeks on this piece of art?
• Does the work reflect that amount of input?
• Do you really expect to earn the equivalent of a wage from a painting?

Ok, I know there was something a little facetious about some of those questions but you do need to be honest. Here are some more for you, these all factor in the pricing of work.

1. Where have you exhibited before (especially in London)?
2. Have you sold work before in a professional gallery?
3. Are you a full time artist?
4. Where did you train?

These all factor in how to price your work. It is a rare thing that someone will spend £1000's on the work of an amateur artist. It does happen but not that often.

Serious collectors who spend serious money will want an artists pedigree if they are paying out large sums for the work.

Here's how I price my work, I'll answer the questions 1- 4 to help contextualise it for you. I have exhibited in London, I have sold quite a lot of work in galleries (excluding and including mine if that makes sense). I'm 3/4 time artist and I trained at Loughborough for my degree and Camberwell for my M.A.

I actually start with the frame, I need to make that money back first and foremost. I then think about the time it took to produce the work. I have an idea of how much I would like to be paid per hour, around £25, then I do the maths. I should add here that pieces seldom take me longer than a day, if they do I charge accordingly. If the number is too big at the end I rationalise how much I can actually live with  selling it for. I do factor in my experience as a financial number too, it's hard to explain that but I do.

So that's how I do it. 

Things to remember, keep your pricing consistent. There is a huge temptation by artists to have prices that move all over the place. I know this is often done to counteract gallery commission. But you must factor that in when costing your work in the first place. If someone buys a piece from you at one gallery and it's £300 and then 6 months later they see very similar work of yours else where for £150 they will not be happy. Quite rightly so, it is up to you to price your work correctly.

Lastly, you may enjoy living with your entire back catalogue under your bed, in the loft, in the garage or cluttering up your studio. But does that give you the impetus and money to make new work? I doubt it, price your work to sell, be fair to both yourself and the potential buyer.