Business of Art Should Not Be All or Nothing

There have been editorial commentaries being forwarded about on Facebook encouraging artists to disavow ourselves of giving artwork to charity auctions and commission-based galleries. While I agree with some of the arguments, I will not be making any such pledges. There is room in my life for a less black and white approach to my business and here are some off the cuff things that come to mind in this debate.

"Genesis" My last fundraiser donation 

In my 30+ years as a potter, I've come to realize myself as the experiential/process oriented person I am. That means I will always try a little of this and a little of that, do it the wrong and slow way before learning the best and/or quicker way, and learn as I go.

Thus, I've consigned and wholesaled and had good and bad experiences with both. Most consignment galleries have paid on time within 30-days of the sale and in keeping places stocked with a good selection of my work I've formed nice relationships with gallery owners and managers. In the bad experiences side, I have had a gallery go out of business without telling me and before giving back work, and sometimes payments have been late or non-existent unless I press. 

I stay in the consignment galleries where I have good relationships with people. The better you know them, the more enthusiastic they are as ambassadors of your work. Giving them some of my inventory motivates me to make more work--especially if I don't have any orders from my wholesale shops. Wholesale galleries are great, but not a panacea when you visit and see your artwork on a bargain table because it was marked up triple your regular retail price and marked down to its normal one. It's best to have a mix of both if one can.

Donating to Charity Auctions has been the same hit and miss. When work has sold at value or higher it's felt like a good thing. If I've received my regular artist commission on the sale price, that has been even better. If it's a podunk event that doesn't bother to send a personalized letter or give a personal appeal and it's a cause that isn't necessarily mine, I've learned not to give because there is usually no follow-up, nor thanks. When it is a cause that I believe strongly in, I give artwork to them for their fundraising efforts because I can’t write a big check. No matter what the eventual sales price is, I figure that someone will purchase it and give this worthy organization more $$ than I could've given myself and am just ok with it. So there are limits to my largess.

I think we also need to reconsider that we need to be marketing our work as much as possible to make a living, and charity auctions and consignment galleries get our work out in front of people who we may not be able to reach all on our own. As social media activities show us, the emphasis now is on making relationships and maintaining them on this funny life journey. A donated pot to a charity event is a way to make new or cement old relationships, and consignment galleries have the potential of getting more frequent feedback from the people on the frontline pushing our work for us. If that gallery is in a tourist location there can be a constant new audience for our work. 

Traditional marketing/advertising meant printing expensive business cards and brochures, having multiple photographs and slide copies, placing expensive ads in publications. Social media activity and online internet shops means we can update images at the drop of a hat, and can meet many new people who are all sharing their interests with others. But a digital online photo of our pottery isn't the same as the real thing as a wonderfully made piece of pottery in the hand.

We need to make the most of all potential relationships however we are doing biz. When you donate a pot to a charity event, make sure you get a free invite to that event and then use the evening to meet potential new customers and see how people react to your work. It is an opportunity for people to see real art instead of just images on their computers. If you are in a consignment gallery, check in with their Facebook pages and repost things you think are of interest, and whenever you can, give a visit and get to know the people who are helping you sell your work.

So, I've toned down and tried to make coherent my reaction against the consignment and charity donation naysayers. Again, these are my semi-random thoughts . . . at least today.

I'm interested in hearing other people's thoughts on all of this. 

Development of a Form

Progression of small Pitchers

Customer reminded me that I used to do small creamers and asked if I still make them? Of course that pattern is long gone so an opportunity to work out a slightly new shape.

I cut a paper pattern and used it to cut out the first pitcher and put it together. A little too petite. 

Made second pattern slightly wider with a broader base for the next couple of pitchers, and then finally used the second pattern and cut about 1/2" wider still on the sides to get the final pieces. The spiral stamp decoration will be the only handle, which will save a lot of fussy construction time.

When I get more clay dried to the right consistency for slabs I'll try an even wider version to see just how far to take it. Plus, after shrinkage these may be smaller than I want them to be in the end. With my paper pattern all I have to do is just make them a little taller as well as wider for the next tweak.

Using a paper pattern can help you tweak forms as you develop them.

Differences in the top from first to final shape

Wider profile fits better in the hand and leaves room for decoration

Is it a Series Yet?

Second Pod

I can blame the lack of production a little bit on the new pup in our household, but that would be wrong. It's really more a matter of not really knowing where these are going. The long lag time between making and firing and whether or not the glazing works out or not is being complicated even further by my desire to wire these up post-firing. That will certainly change their look and it's hard to know what it will be then. Unfinished work is so unnerving. Doesn't help that I kinda need a kiln load worth to be bisque fired at a longer and lower temp than my production stoneware.

The concept for the pod above came about on the back of an envelope after envisioning it strung with a spiderweb-like wiring that may or may not get papered.

Moonscape Pod

The moonscape pod was just a shape that turned into a moonscape along the way. Funny when that happens.

The pod below just came about and changed many times as it was being formed. Still a lot of finish shaping to do, but it's getting there. All three of these are a mix of sculpture and paper clay. The two pods on top have been layered with velvet underglazes

Shell-like Pod

Maybe after I get three of these finished I'll waste a little kiln space and fire them up so I can go to the next step.

So much Greenware, so little time...

I've done it again... clogged my tiny studio with too much greenware I'm having to hop around and keep the dogs from running over. All are pieces I'm not sure how it to glaze/decorate now, and so they sit taking up valuable room and foam padding.

After so many years suggesting to students that one should have a vision of the completed piece in mind as one constructs, I rarely follow my own advice, instead just making shapes and hoping they'll turn out.

These pieces are the start of a couple stacking sculpture. I go back and forth wanting to glaze them differently than the bright colors, stripes and dots I've done before, and then worry that if I put too much thought into it I'll wreck the whole thing for sure. Too much time invested already for that.

If I can find the space, I may start Stacker #2 as some of these pieces may fit better into the next piece than this one. Maybe, just maybe that will help me decide how to bring Stacker #1 to a close.

How to be Extreme...?

Big pile of scraps after cutting out a bunch of items. Thought, hey, maybe I should do something for the Ceramic Guild's Extreme Show with these, or in other words, attempt to PLAY with clay instead of just make stuff.

If I lived in Opposite World I would be making cutesy very saleable items with little hearts all over them. So, picked up a lump and started making what I hoped was a stylish heart.

THEN, mid-way I flipped it over and saw this little lovely:

Spent the rest of the day making Scrap-Pile Hearts allowing their humble beginnings to show. It was fun and totally different than my regular fare. Will see where this takes me...

Rainy Thursday Musings

When a gallery owner invites one to be in a show and has a special request for a certain type of work, I'm not one to turn her down. Show opportunities are too few and far between.

The challenge is how to put a NEW spin on an old form. My stacking sculptures began as a way to create some organic shapes, get out the bright low-fire glazes and brushes and just have fun with how it all came together. I've never meant for them to be art per se, but last year I did challenge myself a bit more with the forms.

Now I'm working on the first stacker for the show with the idea of making some crisper shapes and slightly more complex forms. Here's how it's going so far. The base flower shape reminds me of a cock's comb, so think a top knot will have to repeat it on top. Last year I made some interlocking shapes that have become more refined and will have centerpieces rather than interlock since shrinkage and warping didn't play out too well.

So many possibilities for stacker number two.

What Inspires Us

Ahhh, Europe. No matter which way you turn there is art staring right back at you. Cornices, bridges, on the floor, in the cobblestone, lighting up above. I got to spend two fabulous weeks having time to walk about new streets and sit staring at the clouds passing by.

Perhaps our own home surroundings are just as full-o-art but we just don't have the time to see it as we zoom by. I'll try and keep on the look out more now that I'm back home.

Photos Below:
Bug eating plant at De Hortus horticulture gardens, Amsterdam.
Bridge on the canal, Amsterdam.

"Gluttony??" Small carving on a pew at the Oude Kerk, Amsterdam.

Low-tech fancy lighting at an art show in Paris.

Floor of the Grand Palais, Paris, juxtaposed to some artwork at same show.