Don’t just wing life and make a pricing model for your work
I got the big news: A wealthy collector — appearing out of the blue, coming all the way from northern Germany — was interested in my work. He and his personal gallerist came to our Academy to take a look around and the news of their arrival spread throughout the whole school; he was interested to buy!
Borrowed from the late Zig Ziglar, the title may ring true to anyone, not only artists and creators. But unlike accountants, bricklayers or welders, the scope of what our craft can be is immense and it’s much easier for us to get carried away into the unknown.
Be it as a person, a society, a business or a local community; art gives us the tools to express ourselves and to connect, create common identity and express our power. And if we see it as such, it gives us a much easier time understanding why the majority of people don’t collect art or just don’t give art the same importance in their lives as we do. They just don’t feel the need for it.
There is a wonderful analogy used at the beginning of the book [The E-Myth](https://amzn.to/2USEQbL) by Michael Gerber, where the author describes any entrepreneur as a company of three strongly distinct individuals: the entrepreneur, the operator/manager and the technician/craftsperson.
When we start to offer our skills and services to others, we inevitably become all three, but one of the biggest problems for a lot of us artists (pretty much the majority, really), is that we love the craft and enjoy it immensely, but have no clue or even desire to do the business part and management of our small business.
They say good art captivates you, but great art can transform your life. But like with any sales pitch, the real question is: how much is the premium of going from good to great really going to cost me?!
To tie together the previous two blogs, I want to discuss what is in my opinion the highest and most complex function that art has in human society — the artificial creation of the experience of the sublime.
Continuing yesterday’s podcast post about communication, I would like to focus on a crucial point that I see might well be one of the greatest misunderstandings of communication in art: syntax does not equal semantics.
While each person is different in almost innumerable ways, we all follow the same basic modes of operation and have the same needs, so knowing these needs and understanding them on a deep level doesn’t just make us immensely better artists, but also incredibly proficient spectators.
And to excel in art, one has to be both.
Rather than taking everything we do overly seriously, I believe we should have fun with what we do first, because we can still get an important message across even if we’re having a blast — something my former self could never agree with.
Lately I have been listening to and reading a bunch of books on time management, work ethics and just all-around self-fulfilment and motivational literature and a thought crossed my mind yesterday, while thinking about us artists and the work we do.