Art Splash, a succes! Thank you God.

Art Splash went well this weekend. I sold one original, which usually makes or breaks a show for me; as well as quite a few unmated prints and note cards.

Ballet Between Sun Showers, painting in question, oh well.

 However, I once again, had another interesting conversation with a booth attendee during the show. He asked me how I had the nerve to put a price of nearly $1,000 dollars on a painting that was on display. I have gotten similar questions in these 20 years of marketing my work. Usually the question is framed in a less blunt inquiry, pardon the pun. I explained my materials for the piece came to $350 which included a professional grade cotton duck canvas, wholesale custom framing (1/3 the price of retail framing using the same quality molding) and the art fair venue takes 30% of the selling price. For me to receive $300 above those expenses requires me to sell the piece at $950. This was how I calculated price the artwork. This price ignores the ever growing cost of the professional grade oil paints, the show fee to participate and what I pay my aged 20 nothing brute squad to help me set up my booth. If I also included this price, as a responsible business person would, the price would be well over $1,000 which is far more than what the market will bear.

This particular artwork he referred to took me approximately 100 working hours to paint; a very conservative estimate. This rounds down time and also does not include time taken to photograph the subjects and produce my photo references and basic layout. That would bring working hours closer to 120 working hours. The $300 received for my working hours and creative ability is less than what most people would hope to receive as financial compensation for services rendered but an artist has to be cognizant of what the market will bear. I told my both attendee that I did understand why $950 would still produce sticker shock for someone shopping for a luxury item during a brutal economy. His response was $950 is above what anyone can bear in this brutal economy.

I don’t think posting a description of my itemized expenses would go over well with those running the art fair venue or those attending my exhibition booth. I have never seen such an item in any artist’s exhibition. In the past, galleries I have had my work in had a problem with my transfer of ownership – artists receipt document I affix to the back of my artwork that itemizes artist’s percent, consignee’s percent and cost of materials of the total purchase price. I include it because it is hard copy documentation, for tax purposes, of what I actually receive as income within the purchase price of the piece. The gallery curators did not like the broadcasting to the purchaser that they were receiving 30% to 50% of the purchase price. It makes perfect sense because only a truly uninformed purchaser would not understand that a retail establishment needs to cover their overhead and make a profit.

I do understand the dilemma of what an artist considers fair compensation for talent and ability versus what the market will bear. There does come a point when working in a sweat shop in a third world country would provide a better bottom line than what artists are compensated for their creative work. I’m always faced with the harsh reality that if I had continued to work as a closer for a popular fast food restaurant as I had done for 10 years of my 35 year work experience, my family’s financial outlook would be profoundly healthier.

I’m woefully resistant to stop painting. If my sales at least covered my expenses and I broke even, I could justify to myself that I’m, at least paying for sincerely loved hobby. I’m, however, confronted with the reality that at age 53, as my husband and I quickly approach our retirement years, my passion for painting puts us at risk of not having enough money to live independently. My husband has been supportive of my painting ability. I fear we are now at the point where painting, even at an amature level is financially irresponsible. The best way to celebrate his support in the past is to cease the activity professionally and once again get a real job. I'm not sure I would be able to work part time and still produce enough original work to continue selling at art fair venues.

I have been doing some research about other ways to market artwork. Feedback from other artists who have tried venues such as Etsy and other internet selling sites did not produce sales. One option may be to join the Tualatin Chamber of Commerce and participate in their monthly networking opportunities. Almost all of my portrait commissions I've received in the past two years came from recommendations from Tualatin Chamber Coordinator, Linda Moholt. Because of my volunteer work with Tualatin Studio Tour, which the chamber helped sponsor, Linda has continued to pass on my contact information even though I'm not officially a member. I know if God wants me to continue create art, He will show me how to responsibly continue in the future. I have 2 more art shows that I've committed to this year and 2 portrait commissions to complete. In 2012, my plan is to cut back my art show schedule even further than I have this year. I also continue scan the Craigslist, jobs section looking for part time work in computer graphics. Despite the extremely difficult of the past three years, God has provided the blessing of enough sales to bring me close to breaking even. I think that is remarkable given the reality that most of us are struggling to keep above water. I certainly do miss that fruitful bottom line of my years at Burger King and providing child care. There is no dismissing the blessings of good and honest hard work.