Blog

The role of art during times of social upheaval is especially sensitive today.  While some artists use their skill to challenge, to bring to light injustice, or to plant their creative flag on issues important to them, other artists continue to create works of peace and serenity, comforting images of home or treasured moments.  It raises the question: what does art have to do with the events of our world? Should it be an escape from the problems of mankind or a mirror?

The editor of Carolina Arts, Tom Starland, recently published a review of artist Tyrone Geter's Drawing from the Lifeline exhibit, at City Gallery in Charleston, SC. (http://carolinaarts.com/wordpress)  The work is incredibly complex, thought-provoking, and socially significant.  Mr. Geter is holding up the mirror. 

On the other hand, I find my own work does not have any social implications that I am aware of -- it simply shows the beauty of the natural world.  While war may rage, and injustice abounds, this world continues in its daily ebb and flow.  The sun comes up, painting the sky with flashes of color.  The wind drifts across miles of marsh grass and tidal creeks.  Mountains still stand in majesty and humble gardens still bloom and grow.  

Maybe that IS my social implication...that beauty has a place in troubling times. As artists, we all have a unique and singular voice, and use our skills to bring that voice to life.  Some works invoke change in how we interact, in how we view one another.  Some works calm the spirit and bring peace. Each has its place.

Since the 2008 market crash and its resulting effect on the art market, I have moved from creating large works of art to including smaller works in my body of work.  Beginning in 2011, I added 5”x7” paintings to my inventory – a little over 200 works since I began working in this size.  Currently, my main gallery outlet has around 30 pieces.  These small works are created on linen panels stretched over hardboard – durable, easily framed and original.  Reasonably priced, the gallery frames them as table-top works, and they sell pretty well.  They have become my “bread and butter” pieces – reliable sales from month to month. 

The other day I got an email from the gallery manager stating they were going to phase out the smallest works!  My first reaction was alarm – these were steady to produce and sell, and I had become accustomed to relying on their sales.  What was I going to do?  My second reaction was one of curiosity – what was driving this decision?  Turns out, the source of framing was drying up for the gallery buyer, and becoming less and less cost efficient.  And the smaller pieces did not sell without the frames!  Clients wouldn't sift through stacks of the flat, unframed works.  They went directly to the framed pieces. 

Adding to that, the 8”x10” panel pieces I had been producing – again, on high quality linen on hardboard – were in the same boat.  Framing was available, but clients simply didn’t notice the panels unframed, though they were still interested in unframed stretched canvas pieces. So panels were being phased out. I should note here, that almost all the work in this gallery is stretched canvas.

At first, I went into a bit of a panic.  The panels were easy to ship, and I could paint them with short bits of time I could grab from my intensely busy days.  And added to that, was the fact that I had a LOT of them in supply, ready to be used.  Now what would I do with them?

A few deep breaths later, I got online and ordered 8”x10” stretched canvas – in bulk (they wanted that size, only on stretched canvas).  I realized that even with the elimination of the smallest size, I would still make a good return on the 8”x10”s.  I just had to be flexible in my mindset, and move forward.  My clients loved my work, and they would love the next size up, stretched. 

It might even be that the smallest sizes were HURTING my sales of larger pieces.  I had been spending a lot of my time creating small works, and was neglecting the larger, pricier pieces.  My sales history had shown that the larger works sold well, when they were available.   I had my answer – bend to change my approach to fit the market as it was showing strength, and be flexible.  Get my head around spending more time on pieces that I had been essentially creating studies for!  I was already feeling better about the change.

At some point in the future, I will be able to market the smallest of my works through other venues and outlets, so the panels won’t go to waste.  In fact, they would free me to do some experimental work I have had in mind for awhile.  There are more galleries and shows out there, and as my time evolves to give me opportunity, I will be prepared. 

Thankfully, the relationship I have built with the gallery is one of trust, honesty, and gritty feedback.  I have grown as an artist with those important elements, and I’ve provided strong work that the gallery has profited from.  We are both winners in this equation, and I look forward to many more years of working together.  Thank goodness for being flexible!