Art Articles

Everyone has an opinion on art and it's easy for us all to become critics.

Having some 16 years experience in professional Interior Design, (i.e., not "Changing Rooms") just how personal a space is to an individual becomes ever more clear. Something which has also become ever more evident to me over the past few years is that there has been more of an integration between art and interior design. I don't believe, however that this is always a particularly positive thing and this is useful when selling artwork to your clients.

Why do we call in an "expert" when we have thoughts of our own? Is it just to confirm what we think? Make us more secure in our decisions? Something that I began to notice was that when taking a design brief, customers, and these were sometimes very educated, successful business people, would hand over a business card and comment "we want a corporate identity: can you use the colours of the logo in the design scheme?". This became a real thorn in my side and I would try to tactfully explain that "corporate identity" was not simply taking a business card, which might be exquisite at a couple of inches square and recreating it's essence over an 8 storey office block.

The similarity which I find now as a full-time artist is when I hear comments such as "it won't match my room/sofa/curtains". Worse is when I am asked if I can put certain colours into a piece of original artwork so in order that it matches an interior design scheme.

It is entirely up to an individual if they wish to do that but my point is, Art is Art and Interior Design is Interior Design. I point out to customers now that a piece of art should be purchased for the reason that you love it! It may increase in value over the years and that is another benefit, but not in my opinion a sole reason to buy. If you have a piece of art that you love, the colour should be almost irrelevant to the room in which it hangs. In fact, I would go so far as to say that it is one of the few items in a room which by it's very nature should have permission to stand out, be different or even clash! Do you get upset because your television screen has colours on at certain periods that clash with your decor? If this sounds ridiculous then it is: just as ridiculous as "matching" a piece of artwork to a room environment.

If you want a transition from a painting to be harmonious to the room in which it hangs then use the frame to do this. The frame is the item that displays your art to it's best and it is the item that can be changed to suit your room.

The internet, especially Ebay became awash with abstract "art" a couple of years ago which people began to pay over the odds for and was purchased in colours to match the room in which it hung. This is not art, this is a piece of interior decor and I have visited studios where these canvasses are churned out on a conveyor system that seemed to stretch to infinity.

So, when selling a piece of art to a potential customer, tell them that it is original art that they are buying, not a piece of interior decor. Tell them that they should buy it because they love it and for all the pleasure that it will bring.

Starting To Paint: Your New Career In Art.

"I can't paint" is a phrase I really hate to hear.

You will have heard it said that everyone can paint. I believe this. Everyone may not be able to paint exquisite figurative art or a perfectly proportioned portraiture, but everyone CAN paint.

It comes down to some very basic things about being human.

Firstly, there is the desire to paint. You have to want to do it and if you are reading this, then there is a reasonable chance that this statement is true. Secondly, depending on the scale of your ambition and your reasons for painting, you will require some funds and thirdly, and I think what this article is really all about, you need confidence. Not a brash, fake confidence, but a genuine confidence that comes from deep within.

Lets deal with the easiest one first. If you have no desire to do it then don't. If you want to create original art as a hobby, then do it, enjoy it and don't worry too much about it. If you are a shade more serious and are considering making a living from your painting then you have a lot of thinking to do and the desire to create art will become very important.

It is important for various reasons but on the whole, painting for a living can be a solitary career and it's not just about starting, it's about keeping going. There are practical considerations:-

%u2022 Where will you paint from?
%u2022 Will you have two children and a dog running around your feet all day?
%u2022 Will your heating bills double because you are at home more?
%u2022 Will you become sick of the sight of the same old environment?
%u2022 Will you be tempted by the television, and the proximity of the kitchen?
%u2022 Will you become drawn to taking afternoon naps on the comfort of your bed?
%u2022 Will your home take on a whole new light?

The desire to create artwork must be strong when you are working from home and you must have protection in place. Set a schedule just as if you were working for someone else in an office or in a 9 to 5. Discipline your breaks. Let your family and friends know that you are working and they can't just drop by whenever because you work from home.

It is a balancing act but it is also good to schedule in time for visits by friends, other artists whom you may make contact with and also, eventually, people who like to buy art.

The best option, if you can is to have a studio space away from your home. Not only is this good practice from a practical point of view, but there is something psychologically healthy about designated places to have your home life and to have your art practice. Also, the temptation to raid the larder is less!

This also brings the benefit of the opportunity to meet with other artists which will open all sorts of new doors for you.

Fairly frequently, I receive emails asking me how I got started painting and how I became so successful. Thi sis very flattering for an artist who, at the time of writing has been a professional painter for the relatively short period of five years. So, if you have sent me such an email, you will probably have been directed here. I hope that the information helps and is of interest.
Firstly, can I say that offline, I am not an aggressive self marketer. I have learned from other artists who are far more established than I am, but I have not necessarily followed through on the advice which I have been given. I would say that everyone has their own opinion but ultimately, you need to make your own decision and follow the advice you choose.

MAKE CONTACT

In approaching galleries, I have found that emailing is a waste of time. I am only currently represented by a handful of galleries and at times, I struggle to keep them fed with paintings, so choose the art galleries which you would like to be exhibited in. I would advise that you write to the gallery owner to introduce yourself and ask for an appointment. Include some good quality photographs of your art and a CD of images if you wish. Follow up your letter with a telephone call. From talking to art gallery owners whom I deal with, I know that they get hendreds of email enquiries every year. You beed to lift yourself out from the pack and this is where a traditional approach works best.

LISTEN

You may have your own opinion and once you have built a relationship you will probably have more opportunity to put your point of view across but different art gallery owners have different ways of working. In my experience, they can be incredibly different. Sometimes, if you get a "bad feel" it may be better to walk away. I am no longer with certain galleries. This was my choice because I thought that these galleries did not treat customers the way that I would treat people who want to buy my artwork. In my experience, the best gallery owners are interested in art and they will also be interested in you. One gallery whom I work with, briefs all their staff on each artist, their backgrounds in addistion to teaching them about each painting. I have worked with other art galleries who couldn't even tell a customer a title and know very little about their artists. It's obvious to say, these are the ones to avoid!

FAIR'S FAIR

It can be intimidating approaching a gallery. The art world is still full of snobbery, however, snobbery is nothing to be afraid of. People who pride themselves on their snobbishness plainly lack intelligence. You should be treated respectfully and you should treat the people who are promoting you with respect. This can mean several things. There is a time to promote yourself and a time to be quiet. One of the worst things I see is artists at art fairs approaching galleries, chatting and then announcing "oh, I'm actually an artist". This is not the time or the place to promote yourself. It annoys gallery owners who have spent thousands of pounds on a weekend event. These events are for selling, not for artists to sell to art galleries. similarly, don't go to other artist's launches and hand out your business cards. This is major poor etiquette but amazingly still happens. I know of one gallery owner who no longer invites artists to previews because of this.

ONLINE ART

These days, most artists have an online presence of their own. This is obviously a good thing to do. I have used many sites to bring my paintings to art-buyers attention. However, you must respect gallery pricing. If you are represented by a gallery, your online pricing for same or sililar artworks must be the same. Even though you will not have gallery commissions to pay for an online sale, it is inappropriate to underct the gallery and any gallery owner would probably drop an artist who works with this practice. One way I market my art online is by having a subscribers list. I have had this for five years now and these are the art-buyers who have supported me from the beginning. In negotiation with the bricks-and-mortar galleries with whom I work, I do sell paintings at discounted prices on special occasions to my subscribers and this has worked well.

This is scratching the surface of the relationship between artist and art gallery. It should be mutually beneficial, never parasitic and the end result should be that the customer receives a professional service and be able to view and buy paintings in comfort. Don't forget that art galleries also provide additional services such as advice and framing for your customers.