Over the years, I have represented all manner of topics and used a wide variety of subject matter and sometimes it was just for practice sake and experimentation, but I would say that since 2001, it’s all been about the topics and issues I find to be of importance to me. It’s something of a challenge as I have had to more deeply immerse myself in who I am, to question myself and why I am, and what I hope to achieve through my art. I choose to represent women, all women, no matter who they are and how they came about in life. I wanted and still wish to showcase women in queer communities, women in erotic scenes and most importantly for me, women’s issues and their lives. Now, of course I have to date created those paintings which express ideas, issues and ways of being that speak most to me for now, like a vulva series as an acknowledgement of Eve Ensler’s “ The Vagina Monologues “ as well as the more intimate an personal acknowledgement of my own transition and path as a woman. I further wished, with the vulva series, to celebrate and ponder the beauty and dangers of being a woman and it’s my hope that I have at least given some food for thought and my gaze allowed for a different take on vulvas and why we feel so uncomfortable when confronted with them in public art. Other series like my ongoing Queer women series is me exploring queer women identities, while inviting the viewer to get a sense and feel of the reality of queer women’s lives. I also approached more erotic pieces as a way to say how natural our sexualities are and that it’s not always about the over sexualization of women’s bodies, as it can also be of how the women in erotic poses and scenes can help challenge our comfort levels. I create for myself primarily, for my satisfaction and pleasure, and is my personal efforts to gain better insight and understanding on the topics I tend to paint about. It is my view, my gaze that I apply and with a little luck, maybe I am expressing how one of my models is experiencing a given scene or emotion, because it really is something I strive to attain. I want the viewer to get a sense of what the women in my paintings are living and feeling at that moment in time. Finally, I hope to share with all, what it is that I see, sense, feel and experience as a paintress.
Earlier today, I was following a thread on Facebook, it was about a Gallery owner who was expressing herself on the importance of respecting the rules and regulations, the better practices of dealings between Art Galleries and artists. She went on to say how she felt it was vital to encourage respect towards artists when it came to paying them the value of their work and how artists often enough, get caught up in giving their art away in exchange for exposure or by exhibiting their art for free.
I agree with her, and find it refreshing to read about this very important symbiosis which can and should exist between the dealer and the artist. Both parties should follow the rules and work to the benefit of each other. She was correct in stating that we artists often post our art work on social media in the hopes of being seen and making sells, sadly, we mostly just end up adding to the quality of those social media outlets without much more for ourselves.Artists are usually on the losing end in these matters, rarely getting paid for displaying their art, in fact they rarely think of demanding payment in exchange for improving the look and quality of events.What I am learning, yes even after most of a lifetime being an artist, is that a good part of the blame belongs firmly on artists who accept bad deals like showing ones art for exposure or selling at bargain, or not demanding payment in exchange for improving some event. I have been one of those artists who, for a number of reasons, thought it always best to go with the flow in terms of exhibiting my art in events when I often had to pay for shipping, packaging and so on.I happen to be a paintress who doesn’t create pieces that will appeal to the masses and it’s perfectly good with me as I don’t paint for fame or glory or to get rich ( mind you, it’s not that I’ve anything against any of those objectives ), I paint because that’s what I do, it’s who I am.
I have lived a life of working at other jobs in order to paint, and it has been difficult to say the least but I would not, not for an instant, trade that in for a life of not being myself as an artist. It’s a fact that we live in a society run and controlled by money and power, everything has a cost, food, shelter, transportation, clothing, etc, and it really strikes me that it makes no sense whatsoever to expect hard working visual artists to give away their work in the hope of exposure ( what does that even taste like ). It’s insulting and demeaning. Of all professions, visual art is the only one to my knowledge that is expected to be free.Not that I haven’t been fortunate enough to make some sells, and for this, I am always very thankful, but lets be clear, each and every time I have accepted to exhibit my paintings somewhere, it profited those events and rarely me. I cannot begin to count my loss in terms of actual costs which all of my sells to date could never hope to cover. Exposure doesn’t feed and it doesn’t equal fame or getting more noticed.
Equating exposure to hard currency is a false equivalence, sure it can at it’s best, be a good thing overall but nowadays, it seems to be the only offer out there for visual artists and that’s not good at all. As a visual artist, the only way I have of making some sort of living from my art is through showing my art, and that is exposure so it’s more about the type and quality of said exposure. This doesn’t mean that I would never consider donating a piece for a charity I happen to support, just that I am now more keenly aware that certain kinds of exposure just aren’t worth the trouble.
Art galleries, art dealers and agents sell art for a living, they tend to pick and chose artists whose work gives them the best opportunities to make sells. They look for art that appeals to collectors and other buyers. I have yet to fully understand how to give them what they want as I paint what I find interesting and that is rarely what seems to sell. Maybe I’m not doing a good job at selling them my vision.
I’m not great at portfolios, statement and bios though I do try to do all these things. I don’t know what makes people buy art, I don’t know how to convince people that my art is worth owning, all I know with any measure of certainty is that I paint well and create what I am impassioned about.
I think visual artists should be paid an exhibition fee, not the other way around.
I try to inject, to express as best I can, what it is that I wish to communicate through my paintings, sometimes, I get lost but I do try to keep things as clear as I can. I usually start by figuring out what I want to say and then I work out the composition, lines, tonal values, colours and texture. I struggle to come up with the communication, sometimes, it’s not the clearest of messages, but when I’m at my best, the painting speaks clearly.
I centre my focus around women, their lives, issues and conditions, trying to be consequential with myself and my thoughts. I may come off as rigid in how I think when it comes how and what I paint, but I think it’s vital to not be all over the place, at least in regards to my approach to my art.
When I decide on a communication I wish to express through painting, I will do all I must in order to understand all I can about it, keeping what works and leaving behind what doesn’t lend itself to the strengthening of the message. Of course, I do not work in a vacuum and so am influenced from many sources, including my own point of view, my gaze.
I feel success when I see understanding of my paintings in the viewer, when one of my paintings touches someone, when my art garners reactions, both positive and negative. I paint because I wish to engage you, and your reactions, your understanding, all of your responses to any given piece I create, is desired and needed, my art is nothing if it is only one sided.
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