Tonight at an art reception I was very rightly advised to offer my digital art in limited editions. I’ve been sounded on the issue many times before, and I recently had fun offering a limited run of painted archival prints for Kickstarter’s make100 promotion. So why don’t I do this regularly?
Quite simply, limiting my art would be in direct conflict with my personal goals. Firstly, I want every person on Earth to be in possession of my art one day. Secondly, I want everyone who genuinely loves a piece of my art to be able to have that piece in some way, shape or form. Lastly, I want my art to change lives.
This means that the vast bulk of my art must necessarily be unlimited, widely shared, and affordable to everyone. My idols and role models are the artists who tag trains or illustrate comics, books and album covers that embedded themselves in the public consciousness.
My artist seal deliberately references Henri de Toulouse-Lautrec, because he made amazing posters that were discarded after an event, and the Japanese ukiyo-e artists of old whose brilliant and colorful woodcuts were used as wrapping paper and box stuffing before they were wadded up and thrown away.
I have no desire to make myself sacred, or even to make myself rich. All I want to do, before I die, is make myself felt.
I do have a soft spot for my fans and clients, however. So, if someone commissions an exclusive or limited piece, and I know they like the actual art and don’t just want a valuable piece of colored paper with resale value, I’ll accommodate them. I know people like traditional pieces and sketches too, and I try to always bring a good number of my traditional pieces for those who must have a unique item. I’m not made of stone.
But I’m also not here to line anyone’s pockets by deliberately creating art with the main point of being collected and resold. If a person does not genuinely like and want a piece of my art, I’d rather not sell it to them. I’d rather sell a $15 print to an excited teenager than a $1000 limited edition something-or-other to a collector who doesn’t look at it except to gauge its future market value.
In the latter case of someone only buying my art as an investment, I haven’t touched anyone. Worse, a piece of art that I truly cared about is now buried away in some warehouse or in a single person’s residence. One of my art professors once stated, “A museum is a place art goes to die.” It’s a similar situation to me when someone buys a piece just to hide it away and treat it like a precious commodity. Art is not only for the privileged, and it must move out in the open, among everyone, to stay “alive.”
So if you’ve ever wondered why I’m not rich, now you know!
Show runs from April 1-May 6 with a reception on Thursday, April 20th at 5:30pm. Come see us there!
Here’s images from the online article and a full shot of the physical newspaper article.
Robot Mermaid was featured in this article where I was initially credited as Heather Landrey AKA Sandpaperdais (in case you came here from a search). I’ll update on here when my name/handle get updated, but in any case I was very happy to be included with all these awesome artists in what has turned out to be a truly amazing art show. The show closes this Saturday, so head on down to New Harmony Art Gallery if you get the chance!
As the article explains, my Robot Mermaid was created from fractals. I love the idea of math creating artistic forms, and math seemed the obvious approach for robot art since robots rely so heavily upon math to be designed and created and then go on to perform functions. In this case the fractals form speakers that the mermaid uses to project her enticing song and lure sailors.
The canvas from this show has found a new home, but anyone wishing to have their own Robot Mermaid can email me at email@example.com and I’ll get you set up with your own canvas or matte paper archival print!
Banner for an old website idea I had. Back then I liked to make interesting images by layering many different photoshop brushes and continuously erasing parts, merging, and continuing to develop it until I liked the end result. The glass panes in Nascent were made using this technique. I need to do more of that, it’s really fun!
This creepy little guy took an Honorable Mention at Digitized 2006 and finally sold at my solo show God From the Machine 2013, where it ended up getting a lot more attention. Many people assumed it was new work, when in fact it hadn’t been seen anywhere for years after dropping out of sight in 2006. It just goes to show you, never give up on a piece of art you have faith in!
As promised, here’s some images from Wilke‘s January 2014 solo show at PG Gallery and Cafe, “All is ‘Naut.” It was a hum-dinger of a show, wildly successful and enjoyed by all! (I thought the Tang was an especially nice touch and guzzled my fair share.) The overall whimsical and satirical tone of the subject matter was a good compliment to the bright, cheerful colors and clean lines of the ‘nauts. I would be surprised if any of these gems are left unsold at the time of this post. However, Wilke is another digital artist like myself so don’t hesitate to ask him about a re-print. It’s one of the great things about the medium!
To see more ‘Naut goodness, check out Wilke’s tumblr page here: http://drxwilke.tumblr.com/