What am I worth?

Have you ever wondered how an artist prices their work?

I think I can safely say on behalf of my fellow creators, that it’s hands down one of the most difficult parts of our work. The drama surrounding financial worth of any kind of art is hard to escape. Think about how outraged people get when they hear that a Banksy can command mega high prices. How competitive and exclusionary the art world is. How disappointing it can be when your art doesn’t sell. How fabulous it can be when you do sell. But then the imposter syndrome kicks in. You’re told you have to be represented by a gallery or an agent to be a real artist or have any kind of career in the arts. It can be hard not to get down on yourself.

An Early Experience

My first art commission was for a family friend, I was about 11 or 12. The woman asked for a copy of a picture of a dragon for her curio cabinet. She gave me a picture to copy, a letter sized image of a flying dragon she liked. She just wanted a bigger version really. The fact that she offered to pay me was thrilling for my young artist self. Someone thought my talent was worth money!

She gave me the dimensions, and I carefully measured out my canvas. I was so proud of the painting – my first commission! She loved it. She paid me, and we were happy. Or so I thought.

A few days later, I encountered her husband on the main street of our small hometown. I’ll never forget the look on his face as he strode angrily towards me. He started yelling that he wanted his money back, because apparently my painting was the wrong orientation and wouldn’t fit the cabinet. Turns out the letter sized image she gave me, which was portrait orientation, was wrong – the painting should have been landscape orientation to fit the cabinet. She didn’t think to tell me that, and when the painting arrived she realized her mistake and was too nice to say anything.

I tried to explain this to him, but he was furious and wouldn’t listen. He yelled at me that, “Now I have a worthless painting that I might as well wipe my arse on!” and strode off.

When I told my dad, in tears, his response was: It’s your own fault. Always get an agreement in writing first.

Harsh but true. It was my first lesson in art business.

So now, almost 40 years later, I still write a contract before I start a commission. Then, everyone involved understands and respects what the project entails upfront. I listen carefully to what the collector wants, and help them bring their vision to life. We establish deadlines, and create a roadmap to the final piece with preparatory studies to approve with a signature before I embark on the final piece. Transparency and clarity. Every time.

Training & Experience

I’ve had a long career as an independent artist. I built a reputation, gallery and collectors in Britain for twenty years. And then started from scratch again in North America almost nineteen years ago.

I’ve honed my skills consistently throughout my career. I went to art school, got a degree and then worked as a curator at an art gallery. I opened my own studio, and then gallery. I learned classical and contemporary painting from accomplished, well regarded artists.

I taught college level art and art history for fifteen years.

Learning from Old Masters, studying technique is a regular practice. Studying at museums in Italy, France, Japan, New York, London keeps me curious. I draw and paint in volumes of sketchbooks, practicing my observation skills and experimenting with new techniques.

This keeps my work fresh, interesting, exploratory, constantly evolving. Alive.

Collectors & Patrons

Once someone buys my work at a price point, I never come down from that price.

It would be insulting to my collectors and patrons to fluctuate my prices, and it would devalue my work. I offer discounts for multiples and collectors – it’s just good business to reward loyalty and repeat patronage. But the price point stays consistent. I haven’t raised my prices for four years.

I price per square inch, with a schedule for different mediums and level of detail. Oil paintings are the most expensive, monochrome drawings the least. All the work is made to last, and made with care.

I use expensive archival papers, portrait grade Belgian linen, professional grade oil paints, hand-rolled pastels from England, and honey based watercolours from Italy.

Framing costs factor into the price too. Most of the work at my gallery is professionally custom framed by Amber Bradford, a local who I have known and trusted for years. The materials are high end, conservation grade. I have to move and store them carefully, so as not to damage the frames or paintings. It’s a lot of work to take care of them.

I can afford to make work with the best materials now because I charge what my work is worth.

I can also afford to donate a percentage to causes I care about.

I don’t sell a piece every day, or week but when I do sell something, it’s at a price I feel good about. When I do commission work, I get paid well. I feel respected. It’s a privilege I never take for granted.

If I dashed off 50 paintings of a local mountain and sold them for $50 each, like I used to in my early years – I might have more cash flow month to month, but I wouldn’t have the energy to make the high quality, meaningful work I thrive on.

I know my worth. It’s taken years to build the confidence to believe I have worth as an artist. Some might call it audacity. So be it.

And it is a matter of my personal worth as well as the value of my work, because they’re inseparable parts of me. Because the work comes through me – through my hands and my eyes and my soul.

For me, it’s not about the money, it’s about respect for the work. I deserve to be paid well for what I make. I work hard and I care deeply about what I do. I’ll never be a rich person, and I’m fine with that. I do better than many artists in my position, and I feel humbled when I consider what could have been, had I not taken one of the many forks that keep appearing in the road I’m traveling. Sometimes it’s been more luck than good judgement that has saved me from falling through the cracks. I’ve also been fortunate to have a fellow traveler who supports me no matter what.

It doesn’t matter to me what the famous artists or dead artists or gallery artists are selling for – it’s not an apples to apples comparison. Each artist is an individual, on their unique journey. A soul in this world creating beautiful things with their hands and imagination.

Independence

Being independent means I haven’t got a slick, pushy salesperson selling for me. And I like it that way. I personally dislike being sold to, especially if I can tell that person isn’t very honest or kind. So why would I do that to someone else?

So my sales are slower, less frequent, but more substantial. Almost always in person, despite my efforts building an online store on my website. I do a lot of commission work. The sales are meaningful transactions, exchanges between people who look into each other’s eyes and see our shared humanity.

The art always means something to my buyers. Nobody ever bought a piece from me and said, “This will go in the storage space with my other investment art.” Or, “I’ll flip this”.

My buyers always know where the art will go, because they imagine it in their lives first. They take the time to consider how it will enrich their homes. Not their portfolios.

Building relationships in any aspect of life takes time, listening, mutual respect and trust. The relationship between artist and collector is no different. I don’t have a single collector I don’t hold in high regard.

It’s a privilege to make a career founded on these values.

Thankyou, all of you.

Posted by

Shelley