Plein air point of sale

I'm quite sure that many plein air painters have figured this out, but the opportunities to direct market and sell your work while working outdoors are endless. Anyone who works outdoors knows that invariably someone will wander over to see what you're up to. You have to remember that not many people see art being created anymore. It may well be routine for those in the painting community but it's absolutely fascinating for those who only see the plethora of photographic reproductions posing as fine art.

(RG note) My late friend Toni Onley was a master at this. His technique was to fly over the local islands looking for large yachts anchored in remote bays. He would swoop down and land his amphibian close by the yacht and taxi up to a beach. Without making eye contact with the folks on the boat he would go ashore and quietly make a couple of watercolours. Invariably someone would come ashore and inquire if any works were for sale. Toni could be pressed to sell if they were insistent. Afterward he would usually go for a quick drink on the yacht before roaring off into the wild blue yonder--making it a memorable occasion for all.

I'm priceless

Regarding your letter on the imposter syndrome--I finally get the message that my work is actually a mirror of myself, and of course I'm priceless! This syndrome is the single most debilitating factor for those who have "controlled" their egos--or those who have been robbed of ego, like many women whose self worth depends on physical desirability. Obstacles still abound, but as long as one has faith in one's work and the capacity to continue producing, there's a market out there somewhere. Folks have been known to hang images of tomato soup cans on their walls--so don't underestimate the power of faking it!

(RG note) Speaking of faking it, I know of artists who approach their art with the attitude "I'm useless." It's a ruse to extract "beginner mind." Figuring something out as if you are doing it for the first time, as though the artist is not at first up to the task, leads to that "Ahah" expression when the surprised artist says--"There, I'm not as useless as I thought I was." Great feeling.

Claimed the title

During the two years I worked as an accountant I was the quintessential imposter.

Autumn Meta Original print  click image to enlarge

Then for at least a decade after I bailed out of the world of numbers into the world of art, I never could call myself an "artist"...only told people I "like to draw" or "I enjoy artwork." But eventually I claimed the title "artist" and after 25 years spent working toward the mastery of my medium (printmaking), I know that I am the Real Deal, an Artist. And if anyone sees an etching of mine and asks, "How long did it take you to do that?" I answer, "It took me 3 days plus 25 years." Because that's the truth.

(RG note) Accountancy ought to be an excellent grounding for art. Creative accountants start with the question: "How much tax do you want to pay?" and take it from there.

Visual energy from Bible texts?

I have invented a new method of colour therapy that enables people to utilize the energy of light that emanates from the Bible and Psalms. The idea of our method of colour therapy is to produce animated colored pictures from Holy texts, utilizing the harmonized energies of colors that are in these texts through Holy texts imageries.

(RG note) Can we please make these harmonized energies universal and ecumenical? Alex's project is at www.visnsoft.com

Tiny show brilliant

I want to tell you and your readers about a wonderful show. The World Federation of Miniaturists is now at the Smithsonian Museum in Washington D.C. until the 12th of July. This exhibition is only held every 4 years, the last one in Tasmania, Australia. I have just returned from there as I had the honor of being invited to demo for several days during the first week of the exhibition. Anyone who can get to Washington should see this show. Miniature art has all the disciplines of fine art except it is confined to 1/6 the size of the object being painted. Many renowned artists paint in this field that is over 900 years old. There are 1170 paintings and 370 pieces of sculpture, plus 515 other media pieces in the show.

(RG note) While we don't usually put in notices to upcoming shows because the information is soon dated, I'll make a small exception here to honour this ancient field.

Fear of galleries

Do you have any advice for FOG, or fear of galleries? By that I mean the

Sailing weather Original painting  click image to enlarge

approaching of gallery owners with your work. What are they looking for in the way of a presentation, attitude etc? Do they generally give critiques? Do you go back again and again? Should you have a proven sales record of a certain amount of paintings?

(RG note) Most creative people are intimidated by anyone in a position to reject their efforts. Galleries make some artists tremble. To answer your questions--the attitude most of them have is: "Can we sell this?" They seldom give critiques--most are not the critical type. They look at the package--you, your dedication, and more than anything what they perceive is the quality (salability) of your work. Yes, you can go back again--particularly when you can show them something new. You don't need a proven sales record, but it helps. You mostly need a proven work record. If they think they can sell your stuff they will want to know if you can make a delivery--regularly. Getting back to that horrible human failing--fear of rejection--I've always had the feeling, right or wrong, that I was accepting or rejecting them. It's a way of handling the world of rejection. When I was in high school a particularly lovely girlfriend dumped me, but I was quickly able to tell myself that she wasn't suitable anyway. I moved on.

Cruise ship art

I am an oil colorist who has a passion for creating canvases that depict a variety of subjects. I emphasize warmth, color, flamboyance and my hero is Henri Matisse. Some of my paintings include Matisse-like style and subjects. I love the tropics and much of my oils show the laid-back atmosphere of island living. As thousands of other artists, I am looking for a venue to sell my art. Cruise ship art auctions sound appealing. I can't afford to cruise, but my artwork would be happy to go on-board for me! I get the impression that Park West Galleries are not too well liked. Are there other galleries that manage shipboard art?

(RG note) Currently Park West has the cruise ships pretty well flooded. They sell mainly reproductions masquerading as original art. Perhaps other readers may know of other floating practitioners. My letter and clickback on "Cruise Ship Art" is at www.painterskeys.com/clickbacks/cruiseart.asp

Define "successful artist"

I've heard your remark "successful artist" several times. Every time I hear that phrase, I ponder, exactly what is a successful artist? Is an artist's success judged by the price tag on their creation? Or is it the amount of songs they sing, pictures they paint or stories they write? Would I be a successful artist because I am able to draw and paint from photographs or am I a successful artist because I can take an idea from my head? Do I achieve success when I sell a picture for more than $50.00? $100.00? $1000.00? Have I achieved success because some thieves have stolen my art on 4 different occasions? Do I deem my kids successful artists the day they can draw a flower and I recognize it as a flower? Or do I wait until they win an art show or get celebrated in a gallery? Are there different definitions of "successful artist"—the artist's definition and everyone else's? Please, define "successful artist" for me.

(RG note) Right now success to me means the completion of what I consider to be a half-decent painting. Most other avenues of what are more commonly known as "success" seem to flow from that source. But just as success means different things to Donald Trump, Rick Hansen, Brittani Spears, Jerry Seinfeld, and that guy down there trying to get into a dumpster, success means different things to different artists. To the artists who are asking this question I say, "What would success mean to you?" To get an idea of what some great minds have had to say on the subject, you can't do better than to go to the "Success" section in our own Resource of Art Quotations: www.painterskeys.com/getquotes.asp?fname=sw&ID=283

Older artists

I am a 44-year-old student. On May 28th of this year I walked across the stage to receive my AFA degree, and this fall will be starting on my undergrad work. I seem to get more scared as I go on, about starting something new after 40. You don't know how many times I have been told about 'older' artists simply not making it because we don't have a young, impetuous imagination. If you have a few thoughts about the 'older artist,' I sure would like to hear it.

(RG note) Older, schmolder.

Seeing through Van Gogh's eyes

I went in the footsteps of Van Gogh to many of the places he lived and worked. I saw Theo's house in Paris, looked out at the rooftops that Vincent drew. In Arles I looked at the river he painted and the cane chairs he sat on. I went to St Remy and stood in the olive grove that still looks the same as when he painted it and saw the old building where he was incarcerated. I traveled to Amsterdam where they have the vases he painted, then to his birthplace and to Etten and Neunen where he grew up. I looked over that fence to his studio, which is now someone's shed. By looking I learnt how a person can interpret things in their own way--so that they are recognizable but infinitely more interesting. I learnt how colours can be enhanced, and I understood better how his palette could change from dark to light as he moved south. It's great to travel and look at the world from your own unique perspective, but what a mind-blowing experience to see it through another's eyes!

(RG note) For me, this sort of activity is one of the greatest of all feelings. As well as trying to see through another's eyes, there's the feeling of transcending history. I suppose it's partly just a sentimental streak, but you do pick up on seemingly minor details and effects that put you right in the boots of the master you're pursuing. Retrying some of Cezanne's views of Mount Sainte Victoire in southern France a few years ago, I was impressed with just how ordinary and dull were some of the things he tackled. Once, a man came and stood behind me, looked at the scene and said something like this: "Aucune merveille que le maître a jouée du violon loin lui tellement" -- "No wonder the master fiddled away with it so much."

Creative part of the brain

Creativity is available for the person who has been self-trained to go to that part of

The Great American Dream Original painting

their personality or brain. While I paint on a schedule (or it would never happen) I have learned through doing it that the creative juices just come at the time I sit down at the drafting table. I am able to turn off the day-to-day thoughts that can run interference.

(RG note) Over the past few years this has become more clear to me also. Something takes place that can only be described as a higher sense of evolvement. I don't think this sort of feeling is there for most of the population. The workstation--easel, keyboard, drafting table--is the center of an honourable universe.

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