Yesterday, I paid an artist friend a quick visit and she showed me her collection of works which she still intends to sell, as we were catching up on personal news. My friend is an experienced artist and she has even had a few international exhibitions. We spoke about what we think the art buyers want; she thought she had to add more recognizable shapes to her more abstract-looking works; I was considering creating more still lives. As we all should know by now, it is almost impossible to gauge public taste and public taste may fluctuate – it is a rather “fashionable” taste indeed. However, even though we as creatives may feel “neutralized” by the public’s responses and our own lack of insight occasionally, there are still those moments when a buyer appears out of nowhere and says, regardless of price and the artist’s protestations, “That is what I want – I take it.”
I want to tell you a little story. In 1997, I gathered my exhibition collection, consisting of predominantly abstract works, a few still lives and many small décor pieces and I loaded them into a borrowed trailer. The trailer was kindly made available by the minister of the local congregation. I “ignorantly” set off to an arts festival in Oudtshoorn, South Africa. I had to drive about 400 km from where I lived at the time to reach my destination. I borrowed a little money from the bank (and a tent from a friend) to make sure I could pay for everything and the caravan park fees. My place in the artists’ exhibition tent was arranged by a pottery friend of mine. I arrived. I set up my little stall with my collection and I interacted with the festival goers. I quickly made a few friends. At night, a few of the crafters and artists who were exhibiting at the festival – and dwelling in tents – would form little groups and we would share our experiences of the day. Obviously, we would talk about the sales of the day and what the buyers were up to and into.
Looking back to what I did 24 years ago, makes feel a little nervous now. I must have looked very inexperienced and my works were not framed (except for a few) – but as someone pointed out once, I was there (which is important). This was actually the first time that I had participated in a national event. Let me return to the artists sitting around their tents and discussing their strategies. One friend turned to me one evening and he told me that I would struggle to sell my art works, because according to him, my works were little like jazz and the general public did not respond too well to that genre.
I appreciated his remark, because I was completely aware of the reality of my collection. If I remember correctly, the still lives were the first to find their “forever homes” and the décor pieces, which were very cheap, sold well too. The abstract works did struggle a little more – as my “jazz” friend had predicted. However, whatever we believe with regards to selling art and what people want, we never have the complete picture.
One morning, as I was sitting there and observing the crowds, a couple walked up to me and the lady pointed to a framed abstract piece (included here) and she told me that she would buy it, because that was exactly what they were looking for. I don’t think she even asked the price first. We completed the transaction within seconds – or so it felt – and I secured the work for them and they were off. Just when we think we have solved the 1000-piece “public taste puzzle”, the picture changes. Have a great day, regardless of who wants what. (I managed to clear my debt at the bank with the money I made at the arts festival. I have not attended another since.)
(This work is 60 cm x 60 cm and it is an oil on board work. It had a golden frame around it.)
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