One of the most rewarding aspects about doing art festivals and fairs is the interaction I get to have with the buyers of my work. These interactions both provide me the satisfaction I seek as an artist and idea’s for how to progress with my art. Sometimes I get requests to print a particular image in a size, or in a way which I hadn’t initially intended.
I listen carefully to these requests and if I think the image will work in the form requested and I believe that the customer will be happy with the result, I will comply. Recently, I have received requests for several images which I offer as prints to be done on canvas in sizes ranging from 15×15 to 20×30. I hadn’t intended to have these works represented on canvas, nor in the sizes which were requested. But I listen carefully to requests and have come to trust that clients often see a presentation of an image that will be wonderful. Usually I can visualize their request and recognize that their ideas are great. Other times I need to see the finished piece before I am fully convinced.
If a request would take a work in a different direction than I intended, or require an alteration to the piece which I do not feel is consistent with my vision, I will just decline the offer. This occurrence is rare however. Mostly, the requests I receive are for a different substrate for the print (e.g., canvas instead of photographic paper), or a different size (e.g., 20×30 instead of 11×14). If I introduce a piece in which I intend only one representation, then I also have to decline special requests. Often however, I will introduce a new piece with flexibility regarding it’s edition composition and so can accommodate special requests. In these cases, I get to listen. And almost always, I like what I hear.
As an example, I recently introduced a new image which I titled Opus I. I printed this impressionistic and somewhat experimental piece as a 9.75″ x 13.75″ on a matte surface paper, matted to 16×20. I am now fulfilling requests made by two customers, one for a 16×24 canvas, the other a 20×30 canvas. Having just finished wrapping these pieces to ship, I can say with certainty that these two requests were well considered. The result was beyond my expectations. These two customers recognized that a larger presentation would bring forth the qualities of this image that pleased me most.
Opus I was made with a lens I am using for a series of botanicals. The lens is actually meant to be used on a projector, not a camera, but was adapted to work with a modern digital camera. I have been wanting to do more impressionistic works and this odd, heavy piece of glass has become one of my tools.
More than once I have had people cry when looking at one of my images. I have always felt that an emotional response to art work of any kind was a wonderful thing. I’ve had similar response to movies and even while reading, but never to a painting, photograph, or sculpture. I was fascinated to find that art historian James Elkins had actually examined the subject of crying in front of artwork in a book he titled Pictures and Tears (Toutledge, 2001).
In his book, Elkins writes, “Paintings repay the attention they are given”, “the more you look, the more you feel”. I like this notion and suspect that it is true. But how often do we actually spend time looking at one particular picture?
At a show this past summer, a woman came into my booth and then left. A little while later she returned to buy a canvas giclee of mine — Summer Breeze. She told me that when she left my booth thinking about this picture, she began to cry. She had to come back and purchase the piece. She told me that she didn’t know why she responded the way she did.
“Crying is often a mystery, and for that matter so is not crying” writes Elkins. I am still working through the book, I’m finding it fascinating. I don’t expect to find any ultimate answers as to why certain people respond with tears to certain art works. I am humbled however, that I have made pictures which have elicited such a response.
Summer Breeze is available on my gallery online HERE
I am introducing a new piece in my botanical series. This image was made using a vintage lens which is some 60-70 years old. I am using a collection of these lenses to achieve a softness and quietness in the images which matches my personal aesthetic.
As an admirer of Piet Mondrian, I am inspired by his work and philosophy. “Mondrian believed that art reflected the underlying spirituality of nature. He simplified the subjects of his paintings down to the most basic elements, in order to reveal the essence of the mystical energy in the balance of forces that governed nature and the universe.” I especially feel aligned with his philosophy that art reflects the spirituality of nature.
The clean geometry and basic colors of his work makes it dramatic and very appealing to me. In my image above, which I have titled “Balance of Forces”, I use the lines of the grasses to compose an image with parallel lines and triangular shapes to create a sense of movement and dynamic visual interest. I selected the background for this image first as it is of equal importance to the final result as the foreground grasses. I aligned the area of yellow wildflowers in the background so that they brought the eye to the top center of the image from which the lines of the grasses would then cause exploration throughout the frame.The yellows also provided nice color contrast to the blues throughout the image.
Available as a giclee on either photographic paper or canvas from my gallery on-line.
At a recent art festival in Virginia, I met Judy. She entered my booth and was drawn to a canvas giclee that I had made of an image of grasses. The image is part of a series I began last summer using antique lenses adapted to new cameras. It is a very etherial series and one that speaks to my aesthetic. Judy was also drawn to a framed print from the same series which hung on my display walls. It was a picture of a meadow of daisies (titled appropriately — Daisy Meadow) rendered softly against late-day light and also made with one of my antique lenses. Daisy Meadow was the piece she wanted and she wanted it as a large canvas.
I took her order and as soon as I returned to my studio, began working on the new canvas image. I hadn’t had this piece done on canvas before but thought it would work well. In fact, I think this new series I’m doing lends itself exceptionally well to larger canvas giclees. Still, I was very pleased when she wrote to me after receiving her artwork. She told me, “it is absolutely the most beautiful picture!!!! I love it!.” In a follow up email, Judy speaks to the piece having “so much depth.” The picture is “soft and inviting,” she added.
I always listen to the people who purchase my work, they are my best source of feedback. From them I get insight into my work and even the business of selling art. It is the interaction with collectors that makes being a full time artist most fulfilling.
Daisy Meadow can be purchased as an art print or canvas giclee directly from my on-line gallery – here
The process of getting into the various shows I do each year requires a sometimes complex set of actions. The most important starting point is deciding with which images I will represent myself. These must be images that are visually strong, have been made within the past few years, and authentically represent my personal aesthetic. It is a rather stressful process because I can’t know how any show juror(s) will respond to my work. As a full time, independent artist, getting into shows, and more prestigious shows especially, can greatly affect my livelihood.
All I can do is send in the work that excites me most, represents who I am as an artist, and hope for the best. Different shows have different submission processes, but most now charge an application fee just to have one’s work considered. Then there’s the show fee, often a fee for electricity, travel costs, hotel costs, food……..and so on. As an independent artist, I am both the creator of the artwork, manager of the business, and the art dealer.
My 2017 show schedule is beginning to take shape and will be updated on my website soon. But, the process is just at it’s beginning and I am updating my image selection for applications. The image above is one I selected for this year. It is part of a series I am doing on meadow grasses and other botanical subjects. For this series, I have been primarily using a few antique lenses made about 60 years ago. Using an adaptor to fit the lens on my Fuji camera, I’m creating images that are quiet, peaceful, reflections of my feelings while in the field and my personal aesthetic. My work may be seen HERE
I’m looking forward to this weekend. I will be exhibiting with the Pennsylvania Guild of Craftsmen at Rittenhouse Square in Philadelphia.
There will be new work! I have been creating images with a couple unique themes. I am excited about both new bodies of work. The first set of imagery is being done with a variety of antique lenses and plays with light and color as reflected off of the flowers that grow in meadows near my studio. The second set of imagery is being done with macro lenses and deals with light refraction off of water drops on plant leaves and petals. In future posts I will be speaking about these new bodies of work in more detail.
The image below is part of the first new body of work and was made with an antique Meyer Optik Gorlitz 135mm f3.5 lens (Exakta mount) that I purchased on eBay from an overseas seller. The lens, when used correctly, can render background elements with a very soft, etherial feeling. The out-of-focus highlights expand into spherical shapes that I find very pleasing. I used the lens on a Fuji XT-10 camera body with an adaptor that allows it to be used on the camera. Exposure is done in manual mode as is focusing, but the Fuji has a wonderful electronic viewfinder which allows me to precisely select the area I want to be sharp.
I’ll be in Rockville, Maryland this weekend participating in the A-RTS Rockville Arts Festival for the first time. It will also be my first show in the state of Maryland. Like many outdoor shows, there is a lot of physical labor involved and as this show has a Saturday morning set-up, it will be a bit of a grind. I’ve done these types of shows before though and they are part of my motivation to stay in some form of physical fitness. A regular routine consisting of yoga and light weight training is usually enough to keep me from getting hurt and from falling asleep during the show (lots of coffee doesn’t hurt).
The image of the hanging orchids below was made at Longwood Gardens, one of my favorite locations to work with flowers. This time of year though there are flowers growing everywhere and they all call out to me. I carried a Sony RX10 on this trip which was a pleasure to use and allowed me to work with a light weight, very versatile camera.
The image is available as an 11×14 archival print matted to 16×20 for $89 by emailing me at email@example.com.