I was trying out a new variation of one of my techniques today, and came across a happy accident. I usually work on dark backgrounds, but since I was testing something new I didn't take the time to paint the canvas. I couldn't have been happier with the results. I'm going to do a whole run on white canvases!
I'm also really stoked that this technique can translate well to larger formats - something that was concerning about my other techniques.
What do you think of the test?
Best Case Scenario: 3 Months
I submit work to a gallery, they review it within 4 weeks, the love it, and ask me to show. They don't have anything lined up for next month so I'm their guy. The show stays up for a month, all of my artwork sells, there aren't any billing issues, and the gallery cuts me a check. 3 months...
Worst Case Scenario: 8 Months / Forever
I submit my work. The gallery might not even respond. If they do, 6-8 weeks before I hear back is common. If they run their business well, they'll have shows lined up at least a few months in advance. Let's say they like my work, it gets hung. A few paintings sell, but there are billing delays (there are always billing delays). I finally get a check 7 or 8 months from now. And that's IF they like my work.
The gallery system is slow. What to do about this?
A sculptor friend of mine just harangued me for signing some of my works with Sharpie.
He has a point.
I did a little research and discovered a few things I should improve upon regarding my John Hancock.
- Sign in the same medium as the art itself. Use oil paint to sign an oil painting, etc.
- Don't sign on top of varnish. It looks like an afterthought.
- If at all possible, sign when the paint is still wet. Apparently this is harder to forge, and makes collectors happy.
- Sign legibly so work can always be identified and doesn't end up making a surprise appearance on Antiques Roadshow.
- Date that shit. Preferably on the back.
I have officially submitted my work!
Most of yesterday was spent researching galleries and submitting my work. I was dismayed at first by how much time this took, but in retrospect I learned a lot. Hopefully the following four insights are useful.
1. The VAST majority of galleries in San Francisco are not accepting unsolicited submissions.
This took me a bit by surprise, but I can imagine how inundated they are by the sheer number of aspiring artists the Art Institute and Academy of Art are pumping out.
This was the fourth or fifth stencil with which Banksy graced San Francisco. As Banksy's work is often politically charged, there is some speculation that this piece is in response to the recently proposed Sit/Lie ordinance in San Francisco. I don't feel the Sit/Lie ordinance is big enough to attract Banksy's attention, and think this work is more obviously commentary on the United States' immigration policy.
The metaphor seems pretty clear cut: Native Americans were here first.
Although, there's no reason this stencil couldn't play off of both issues.
Check out the detail images below.
So, after about 5 hours of rewriting and slamming my head against the kitchen table, this is my very first artist statement:
I'm constantly fascinated by evolution, biology, sociology, and the intersection of all three. For me, creating art is a way to use sight to explore often complex thoughts relating to these fields. I strive to create works that are visually interesting, as well as abstract enough to allow viewers to instill their own emotions and opinions into them, thereby creating a wholly unique and personal experience.
I have paintings, now what?!
I started freaking out last week after I finished the Playing God series. What was I supposed to do next? I finally had a set of paintings with which I was satisfied, but how was I sopposed to get them hung anywhere? After my encounter with the wine bar a few weeks back I felt ill-equipped to approach any other establishments. Indeed, I haven't since then.
I sought advice from a friend who used to run in the gallery scene. When I asked her how I should progress she gave me some great feedback, which I've posted below, as I think it should come in handy for anyone trying to show their work.
Playing God? How dare I! What's this all about?
I like to paint very wet. Wet, wet, wet. The wetter I worked, the more the paint started to mix on its own. I became fascinated with manipulating this, but was also intensely curious how the paintings would work out on their own. Because the paintings take so long to dry (by acrylic standards), I was often surprised at the end result upon returning to the canvas 12, 24, or 36 hours later. It began to feel as if they were alive. As if I had breathed life into them, but upon doing so, had lost all influence over them - a bit like God and Man, as it were.
I finally finished!
Without further ado, Playing God: http://jacksoncrusoe.com/
(introspection tomorrow... cause I'm TIRED!)