In most endeavors, it helps to have a plan and a destination. That discipline is hard to come by for the flighty, creative thinker. I read the blogs I follow in the morning, and the mental curiosity can divert from the task at hand.
When I started entering shows, being admitted to juried organizations and exhibits, getting gallery representation was difficult. The owners and exhibit staffs wanted a body of work staying in the same style for at least 2 years. My work was too experimental and varied to interest them.
I got very good advice from other artists. Most I failed to try. Buy your glass and frames all one size. You can get the glass by the box and save money. Even when I started watercolors on the same size of paper, I was tempted to trim for the best results. And for style? My friend suggested I was a group show all by myself. When did the discipline begin?
The first main series of women started when I decided to stop teaching and took a course. I wanted to do whatever I wanted to leave as a statement. The large format (square) paintings led to the women who helped desegregate transportation. There are ten paintings, some of them posted.
The current and most ambitious series is coming to a close. At least that is my plan. A few years ago, in a new studio, I was intrigued with the story of Deborah Sampson. She was a MA woman who fought in the Revolutionary War. I did not know her story after living near Boston for 10 years!
And so I started a new series of similar women through history. There are many and each has a story to be told. I have selected a variety of women, countries, stories based on how interesting they were. The list could go on far beyond my telling.
I have decided to finish this series at 31. One has been sold (Rosa Bonheur). This would leave an exhibit of thirty. They are smaller that the transportation series (16 x 20) and acrylic rather than oil.
Note:
Whether a visual artist or a writer, a time comes when you have to attend to the business end. If you do not sell your work, it is important to decide on storage and whatever documentation you want to leave with your work. Toni Morrison had her manuscripts and revisions in her home when it burned down. Duplicates, cd’s etc. should be carefully preserved. Leave your work to a relative or friend who will be pleased to have it. Perhaps, they will publish some of your work. Many times the local library will accept your work.
Painters have a bigger problem. This series is smaller because my studio is smaller. Before you frame work, be certain to sign, photograph and document everything. For insurance purposes, place a value on your work whether you intend to sell or not.
Who knew?
A story I heard about a painting and its value happened when the owner told her friend of its value. She cautioned her not to let it get away when settling her estate.
The day of the funeral the gaudily framed work of art was put under the bed in case the house was robbed. The painting was as ugly as the frame. But it was taken to be evaluated. The dealer took the frame off and carefully looked at both parts. The painting is worthless, he said. It is a print on cheap cardboard. So disappointed was the new owner until the dealer explained. The value was in the lumpy, gaudy, dark frame. Each hump and bump was a rough gem or precious metal found on the many travels the owner had made. Uncut and unpolished, the value was most generous. So your smallest drawing might , if not already, draw a generous sale price.
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