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Deviation Actions
As of late, I've been working on exclusively large scale works on (h5' x 5' on gallery heavy duty stretcher bars, copper tacked and reinforced, double hand-primed in oil), canvases. Also, I work exclusively in artist quality oil paints which are quite expensive. Due to the high costs of these materials and the enormous amount of time it takes to execute work at this scale (it's a bit difficult to work on multiple pieces simultaneously at this scale, because they are cumbersome to shift around in the studio)... consequently, the price is prohibitively high.
Current price: $25,000.00 flat rate per piece.
Consequently, the work doesn't often sell... especially in the current market.
Willing neither to buy lower quality works nor reduce the quality of my execution, I've begun to consider another alternative to prospective buyers:
I'd be willing to sell for only $1,000.00 (roughly the cost of materials)
if the buyer is willing to pay upfront with zero input on the painting that I am to execute.
Essentially this means that I put absolutely no money in my pocket for all of my time (including hand stretching the canvas, priming it, waiting for 6 months to use it, and all the time it takes me to execute the work, while I'm not able to work on anything else). For me, the trade off is that I get to keep painting (i.e. I can afford the materials to continue). For the buyer, it would mean that they would get a large scale painting for 1/25 my standard price.
This price includes everything except shipping (yes, I would permit the buyer to save the shipping expense if they'd prefer to pick it up from my studio personally.
So:
A) Browse through my works and pick one (5' x 5') for $25,000.00
(available for immediate release)
or
B) Buy sight unseen paying only for the costs of materials $1,000.00
(wait for execution of the work + 6 more months drying time)
Current price: $25,000.00 flat rate per piece.
Consequently, the work doesn't often sell... especially in the current market.
Willing neither to buy lower quality works nor reduce the quality of my execution, I've begun to consider another alternative to prospective buyers:
I'd be willing to sell for only $1,000.00 (roughly the cost of materials)
if the buyer is willing to pay upfront with zero input on the painting that I am to execute.
Essentially this means that I put absolutely no money in my pocket for all of my time (including hand stretching the canvas, priming it, waiting for 6 months to use it, and all the time it takes me to execute the work, while I'm not able to work on anything else). For me, the trade off is that I get to keep painting (i.e. I can afford the materials to continue). For the buyer, it would mean that they would get a large scale painting for 1/25 my standard price.
This price includes everything except shipping (yes, I would permit the buyer to save the shipping expense if they'd prefer to pick it up from my studio personally.
So:
A) Browse through my works and pick one (5' x 5') for $25,000.00
(available for immediate release)
or
B) Buy sight unseen paying only for the costs of materials $1,000.00
(wait for execution of the work + 6 more months drying time)
Retrospect
It's been about a decade since I've done anything artistic. So, it's a bit like stepping into an old abandoned house to see these works from years gone by. It's definitely different to look at what I did and what I said about it at the time. Looking back, I feel that, in the moment, perhaps I really didn't understand the truth behind the work or perhaps I understood, but was afraid to be honest about it (with myself and all of you). I certainly made mistakes. But I think those mistakes are part of the process. One of the most glaring mistakes can be seen in the journals where I talk ABOUT art; more specifically, how I speak of art-making as if "all artists are doing it for the same reasons", an a naive attempt to create a kind of Universal Theory of Art. That was just plain stupid. And again, perhaps this was simply to mask my true intentions. Here's the real reason, and again, it's only MY reason, not THE reason: I made Art because I wanted to be seen. I felt unseen. I felt myself
Done painting!
All done painting! I gave all my paintings away, because, well, no one was buying them. And quite frankly, I'm too god damned poor to take care of them.
Gone a new direction now:DSLR "filmmaking".
Been making mostly commercials for a salon so that I can get some god damned money to survive. Using the money to replace my worthless fucking "fine arts" materials, with DSLR Gear.
Running 2 Canon T2i cameras with Magic Lantern Firmware and a bunch of fucking M42 mount Pentax lenses. Got a fuckton of Condenser microphones and a Zoom R24 for Audio, which s nice, because it means I can ditch my 12 cannel mixer. Looking forward to the Zoom H6,
Personal review
I think I prefer to work in the foreground because it allows me to avoid problems with the horizon. The horizon has always been problematic to me.
In wall art, horizon dictates the propper height of the viewer. It means, once I have decided upon the size of my canvas and the location of a horizon line, I have predetermined the optimal viewing height of the observer. Yet, as an artist, I have little control over the architecture of a room that the work will ultimately be exhibited in, or even the height. Quite often, the height is determined by a designer, and constrained by the celing height of the room. So an over sized painting is oft
Art as Argument
Like a good argument, art is the conclusive presentation, which rests upon sound propositions. The legitimacy of that conclusion is determined by the logical structure of it's propositions, when they are known and accepted.
The problem with much of Contemporary art is that the propositions are not known by the general public, nor even, in many cases, of the artist's own peers. And often times, when it is made explicit, it can remain unaccepted among the initiate, because in the minds of these creative insiders, the universe itself is not a fixed thing, but rather a collection of ever changing variables. Therein, we find both, the dilemma a
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