The Price Is Right

Recently I made a social media post asking for folks to post their art business questions.  And boy, did I get a lot of responses.  Thank you so much.  Here is the first one in that series.

Artist Rosie Garcia asks “How do you price work, for example if you sell through a gallery or not. Do you have same price either way?”

That is a very good question and one that I get asked a lot.  So let’s look at some pricing tips.  I have 5 helpful pricing tips and #3 definitely answers Rosie’s question.


1.  Separate Feelings From Facts – I don’t know about you but for me, when it’s time to price my work DOUBT shows up in a big way.  I often hear my brain say things like “there’s no way it’s worth THAT much!” or “I wouldn’t pay that kind of money for this, it’s not that good.”  Doubt creeps up.  Stop that shit right now!  Galleries, collectors, and patrons don’t get to see your feelings and your doubt.  They are looking at prices based on external facts.  They see the market (other art like yours), size, materials you used, and hear your story as to why you created this piece (artist statement).  They aren’t inside your head being told it’s not worth it.  So when you are pricing get in the mindset of basing you prices on facts NOT feelings.

2. What ARE the facts? – You need your work to cover a few costs.  Your time and materials should be factored in.  It also helps for you to go do your homework.  Look at other art that is similar in your area and see what it is selling for.  Does your work fit into that range?  Are people buying it at certain price….Should you charge more or less?  Also look at work you have sold in the past….is your pricing consistent with older work.  You can do some research and figure out the numbers that may work for you….You don’t have to pull the price out of thin air.

3. Set It And Forget It – I know it sounds like an info-mercial.  But I have a policy that when I am done with a piece I set the price based on facts….and THAT is the final price.  It never changes.  Why?  Well mostly I want my prices to be consistent for my collectors and my galleries.  I wouldn’t want a person to buy a piece at a gallery for say $1000 and then go to another gallery and see the similar series paintings for $600.  That collector would feel stiffed and ripped off.  ALSO the galleries that find you changing your prices may not want to work with you ever again.  This is also true for my Open Studios shows.  The price is the same at my Open Studios as it would be in the gallery.  My good friend Jennifer Farris the Owner of STUDIO Gallery told me a bit of wisdom years ago and I live by it.  She said “You deserve 50% of the sale for making the art, and someone deserves 50% of the sale for SELLING the art.”  So if a gallery does their job and works hard to sell your painting they totally deserve it.  And if you work super hard on your open studio and make the sale….YOU deserve that half.  So keep your prices consistent.

4. Stand Behind Your Prices – Once you have done the research and homework.  You have factored in all the things like costs, times, materials, other art, etc.  You have a a number that looks right….feels right…and is backed up by the facts.  You may also want to get some outside help.  You can ask your peers if your pricing seems on target.  You can even talk with the gallery owners and curators sometimes and find out if your pricing fits for their gallery.  Often times I have found that I was undervaluing my work (see tip #1).  So don’t be scared to ask for some outside help.  And once you have it….stand on it.  You are the only person that makes work like yours.  You have worked for years to get to where you are now in your art journey.  You have spent countless dollars on supplies, bills, and education.  You have put in so many grueling late night hours perfecting your thing.  You have a style.  You are bold.  You are strong and courageous and you believe that your work is worth it and you have the facts to back you up.

5. Overall Prices Of Your Body Of Work – I tell artists this next sentence a lot and sometimes i jars them a little bit…so get ready.

“You don’t owe it to anyone to make affordable art”

I hope that doesn’t scare you.  Here is what I mean by that.  Over the course of your art career you are hopefully going to make a LOT of art.  Some big things….some small things.  Some good…..some not as good.  You are gonna price things wrong sometimes….and sometimes you will nail it.  Many artists I talk to tell me that they make art that is cheap for their friends and family.  And when they talk about it you’d think they didn’t even cover their costs.  That only hurts the artist.  As artists we don’t always have a lot of income steams….so undervaluing your main source of art income only hurts you.  Price things correctly. If someone likes one of your larger more pricey pieces but cant afford it….maybe they can afford a smaller piece or a commission.  You are going to make art with all different price points and sizes.  Maybe one of the other price points will fit their budget.  Maybe they aren’t that serious about it in the first place.  I mean…if someone is really in love with a piece….Nothing is going to stop them from having it.  So keep that in mind when you are looking at pricing your current body of work.  You owe it to yourself to get this right.

I am sure I could spout off plenty of more things about pricing your work.  Heck I am sure I could talk my way into a book deal about pricing.  Artists all over the Bay Area have asked me for pricing help.  It is a topic that comes up at every workshop I give, even if it’s not a workshop about pricing.  Take these tips and go forth.  You will get it right.

Photo on 1-14-18 at 2.37 PM #2

As for more questions, I would love to hear what you wanna know about art inspiration or art business.  Please Comment with a question and I will work to get in on the blog.  THANK YOU!

How to have a Victory with Open Studios!

Here in San Francisco we are just a few days away from open studios. (Mine is on Oct. 12, 13, 14….oh man)  ArtSpan’s SF Open Studios is largest and longest running Open Studios program in the country. This week I am frantically making lists of the things I need to do, and fighting off the panic. As the co-chair of ArtSpan’s Open Studios committee I get asked a lot of questions on how to prepare for the event. Over the last 6 years of doing it I have a good amount to share. Here are some key incites that will help you to have a some victories with Open Studios.


First Stop – The Toolkit – Did you know that ArtSpan volunteers have comprised a toolkit to help you succeed at Open Studios?  It has a wealth of information in it.  Anything from postcard designing, to sales receipts and what food to set out in your studio.  If you have questions….hopefully its in the toolkit.  So stop there first.  One of my personal favs in the toolkit is the timeline….showing you when you should be ordering postcards and getting ready.  I find that super helpful.  Check it out here…

Check The  Variables… – Look…there are things you can control about Open Studios and things you cannot control.  You can say to yourself I wanna sell all of my work and make ‘X’ amount of dollars during my Open Studios.  But that is not something you can control.  There are things on your list that are NOT variables.  Like, you can invite 50 people by phone.  You can go door to door and tell all ten of your neighbors about your Open Studio.  You can give out 100 postcards to people.  You can make sure that the coffee shop down the street has SF Open Studios Guides.  Do you see where I am going with this?  You can do action items that are attainable and if you do that to the best of your ability you will have a successful open studios.  Which brings me to the next piece…Victory.


Defining Victory – What does it mean to be successful at Open Studios?  Is Open Studios a good place to sell your work?  Can I pay my bills with this event?

Certainly for each of us the answers vary greatly.  I have always approached Open Studios as a ‘get to know me’ event.  Since I can’t control if people buy my work or not, I tend to not look at it as a SALES event.  My mission is to show people my work and studio and get them acquainted with my story.  I work to get names and emails onto my mailing list.  I give out commission information.  I talk and tell stories all weekend.  I work really hard to invite a lot of people to my event.  And I curate and present my work in the best light I can so that people can enjoy it and start to follow what I do.  And if that is your goal and you put in the time and work….you win.  Even if no one buys a single painting, you nail all the things that you can control and have a victory in that.  THEN when someone does buy a piece of work its like a bonus round.

Approaching the event this way has really helped me on the days that there were no sales.  It has helped me see that maybe I didn’t make much money one day, but I did get 46 new people on my mailing list….and as I have managed that list over the years, some of those people have followed me and come out to shows…and even now collect my work.  So for me, Open Studios is about playing long-ball.  It’s nice to sell stuff…and I usually do well with prints and things, but its really great to meet new collectors and get people excited about what I do.

Now I know this approach may not work for all of us.  Some folks are in this event to pay their bills.  More power to them and I hope they kill it.  Even still….look at the things that you do have control over and make sure that you do that work.  Then you will have a victory either way.

I hope to make it out to all of your open studios this year.  Its a huge event.  Go kick buns.

See you soon.


SF Open Studios  – Check out over 800 participating artists over 5 weekends of SF Open Studios.  Its a huge part of the SF art community.  Artists are happily welcoming YOU to their studios…so please check it out.

What To Do When You Can’t Make Art!


Frida Kahlo being unstoppable.

Have you recently had to deal with some big life changes? Maybe a newborn baby or another health related issue has stopped you from being able to make art.  You could have moved to a new house with a smaller studio space….or possibly your studio area is SO dang cluttered and messy you just can’t….You just can’t.  Whatever the reason you are not making art right now, you should know, that it is temporary.  I mean after all most of us have made art our whole lives.  This month I wanted to write out a few things that have helped me get back to work.

In July,  I was hospitalized for four days.  My kidneys have decided to basically give up.  Immediately I was placed on dialysis.  Now 3 days a week I spend 4 hours in an outpatient center hooked up to a machine that does the job that my kidneys once did.  12-14 hours a week is like a part time job.  And dialysis makes me super tired.  Some days when I get home I crawl back in to bed and sleep for hours.  I try to stay positive…but at times my new found landscape is depressing and on some days, paralyzing.   And as you might have guessed my art production and art business grinded to a halt.

Now it’s September…and it’s time to get back to work.  I feel it.  Plus many of my print orders and deadlines are screaming at me.  But how do I get back on the horse and make art….My schedule and energy haven’t changed much.  How can I get back to work?  Here are some things that are working for me.

1. REST UP – You HAVE to rest.  Whether it’s a health related issue, a new baby, divorce, moving, etc.  You need to rest.  We are going to get nowhere if you are weaksauce.  Take the time to sleep, get showers, relax and do the things that help you recharge.  *Sidenote – Drop the guilt.  A lot of us work so hard that when we rest we feel guilty.  Cut that shit out right now.  YOU deserve rest.  If you really work as hard as you do in your head you ABSOLUTELY need to take breaks and rest.  TRUST me…Guilt kills rest and relaxation.  Drop it.

2. SMALL BITES – After you have rested you may see clearly all of the things you SHOULD be doing.  And seeing it all at once will intimidate most people.  I mean after all being a working artist is like working 10 jobs.  Art Maker, Art Promoter, Computer Technician, Photoshop Master, Printer,  Delivery Guy, etc.  We do A LOT!  And there is a lot more to be done than just making pretty pictures.  Have you ever heard that question “How do you eat a whole elephant?” and it’s amazing answer….”one bite at a time.”

view of elephant in water

Photo by Pixabay on

This is like that.  You have to start small.  You’re not gonna hop back in your studio and produce a Solo Show on the first day.  You have to look at all the things…and start small.  Send an email.  Call the vendor that you have been putting off.  Send one print out…even if you have a list of 30 waiting.  You have to start somewhere.

And many of us use this step to make a To-Do list.  The To-Do list can be a double edged sword here.  Yeah you can sit down and make the list and see all the things.  You can prioritize this over that….maybe make little stars next to the important things.  Or put deadline dates next to each item on the list.   And for the most part that is ok.  I mean when you were on top of your game the list helped right?  The problem I have with the list, especially when you are down and are struggling to make art, the list becomes a source of guilt.  It is a HUGE burden.  You’re allowed to do stuff without a To-Do List!   Skip it for right now if you can.  DO not let it add to your guilt and put you right back at step one.

3. BE PROUD –  I have a kid.  And on days when I am solo parenting it is an uphill battle all the way.  He is older now and a little easier, but when he was a baby, HOLY HELL it was all work.  I learned early on that you have to take your victories where you can get them.  That applies here.  If all you can do today is ONE thing towards your art business then you should be proud of that.  At least that is one more thing that is done that wasn’t done yesterday.  When you can celebrate or relish in your victories eventually you can look back at a string of production.  And THAT feels really good.  Action kills depression, anxiety, and a whole host of other things.  So even if it’s small….you deserve the gold star for doing it.

4 LIFE RAFT – In these times we all could use a little help.  So don’t be scared to reach out to your community and your network.  When I was a first year artist I would have loved to go help any of my mentors make prints, varnish paintings, or hang a show.  So maybe you have someone super eager to learn some stuff from you and come ‘intern’ for a day.  Or maybe you are just starting out….if you have made a few connections those people will likely understand what’s going on and help.  But you have to let people know you need it.  We are all so busy, we don’t always see that some people are struggling.  So speak up.  And if you have the ability, lots of artists would do this kind of work for a little financial support.  So don’t discount hiring someone to help you clean your studio, or babysit so you can work….EVEN if you work at home.


Photo by Pixabay on

5. STOP BEING HANGRY –  Are you drinking enough water?  Imagine the power of your favorite food improving your mood.  For me it’s Fish Tacos (thankfully still on my diet).  If I am ever in a bad mood or struggling….FISH TACOS always help.  Now I am not saying go eat donut everyday….Fish Tacos everyday would stop being a special thing.  But make sure you are eating well and treating yourself well.  It will make a big difference.  My studio mate Amy Ahlstrom (Check out her amazing work here) and I joke about how we plan to make a coffee table book about the crappy food we eat as artists.  Cold spaghetti while you stand with the refrigerator door open.  Eating leftover fried chicken while you hover over the sink.  Cup of Noodles…barely warmed up.  Eat better….feel better.

6. OUTSIDE THE STUDIO –  Sometimes my studio space feels like a chore to get to.  And other days when I am there too long it feels like I am trapped there.  All of which make it even harder to get excited about being there…..especially if I already don’t feel well or am exhausted.  Just getting to the studio can be a victory and a burden at the same time.

So SKIP it today.  Chances are you can do a lot of things outside of your studio.  Maybe you are having a hard time walking….got a laptop?  Maybe you can do some stuff right here on the couch.  Maybe you can send some emails or make a few calls.  Here in San Francisco coffee shops are FILLED with people on their laptops.  So maybe today is one of those days.  You can organize your photos, update your resume (really good if you need a boost), write artist statements, look  for calls for art, plot your world takeover and more all with a few pieces of technology.  Especially good for napping babies or folks that are debilitated physically.

7. BACKGROUNDING –  One of my techniques that has really helped me out over the years is what I call ‘Backgrounding”.  It is the idea that you don’t have to paint the focal object every time you paint.  There is a lot of panel prep, backgrounds, underpainting, and things that are a little less detailed that need to be painted too.  If you’re trying to get back to painting you may not feel like painting the portrait or likeness right away.  But you could handle doing some of the background work.  And a lot of times my muscle memory kicks in.  I get a feel for painting again.  I also use this trick if my lighting is low in my studio.  Paint the less important stuff….the other stuff will come.

8.SNAPSHOT –  Finally, the biggest thing to remember with all of this…Is that it is all TEMPORARY.  Your new life change is a big change.  And it has taken you out of your studio and your work for a bit.  It will pass.  You will adjust and start making art again.  As I said before most of us have been making art since we were young.  We make it compulsively.  We’ve made art on notebooks in class, doodling while on long phone calls or in doctor’s office waiting rooms.  We have made art through weddings, airplane trips, and funerals,  Nothing seems to stop us for THAT long.  So you need to understand that your break is only temporary.  You don’t even have a choice.  hehe.

And proof of that….During my dialysis I have been learning how to create art digitally with my ipad and Apple Pencil.  If I am gonna be stuck in a chair 12 hours a week I might as well be making art.

I hope these techniques help you get back to work.  I would also LOVE to hear any techniques that you have employed to get back to work during a tough time.  Thanks for reading and following along.  Get back to work…




Written by Joshua Coffy

So You Wanna Be An Artist Series #01 – Your Headquarters

So you wanna be an artist?  So do I!  I want to make awesome art and show it in all the cool galleries all over the world.  I want to show my work to the masses and have them shower me with praise, money, and doughnuts.  hehe.  Years ago I had no idea where to start.  I knew that I liked painting and wanted to explore that.  So I got together some cheap brushes and some paints and started painting in my kitchen.  Right at the kitchen table.  I didn’t really know what I was doing but I felt like that was my studio space.  Then it dawned on me…I wanna make a real studio space and really give this a shot.  I want to make art that people would see in galleries.  And hopefully, BUY one day.  Along the road to galleries I have learned quite a few things, some of them the hard way.  And I would like to share them with you in a new Mini Series on the Zen of Hustle Blog called ‘So You Wanna Be An Artist’.  In this series, we will talk about all the things you need to do to make art and get it ready to approach galleries.  For many, this will be neat stuff to learn and for others, a good brush up on some skills you might have forgotten.  But don’t worry, this series isn’t the only thing I will be posting on here.  We will look at all the advanced ins and outs of art journeys too.  So let’s jump in.

jcoffy web

Me in my current studio at Arc Gallery and Studios.

Your World Headquarters – In planning your art world takeover, you need a space.  A space to make art.  Lots of art.  You also need it to be useful for some of the art biz stuff like promoting your work or communicating with your adoring fans and galleries.  Even if you don’t have much of that right now one thing is clear…YOU need a space.

As you read before I started out at my kitchen table.  I have seen so many unique artist setups over the years.  One artist was painting in a large bedroom closet.  Some folks take over their garages for art studios.  I have seen people use a small dimly lit corner or their living room, bedrooms, and yes, I have even heard of one artist working in their large well lit bathroom.  You can, of course, spend a ton of money on a studio space and make it legit.  But if you are just starting your art business I don’t recommend that.  It is an expense and sometimes it can be quite pricey.  Either way, find a place and call it your own.  Sidenote: This may be tricky with kids and pets so find a place that you can really make your own.

Now that you have claimed a space, you’re gonna need to set it up.  Here are some things to consider.

  1. Workspace – A table of some sort, maybe an easel if you are used to them.  You need a place to actually DO the work.
  2. Supplies – Get all your stuff together.  Organize it so it’s easy to get to.  The last thing you wanna be doing is searching through boxes in your bedroom or garage in the middle of a painting.  I do not recommend buying art bins at the fancy art store as they are overpriced and usually you can recycle bottles or get the same containers at the dollar store.  Save your money for the actual supplies.
  3. Light – Shed some light on things.  Maybe you can be near a window for natural light or you can add a couple of lamps to the table to really get a good amount of light.  Art lamps come in all shapes, sizes, and price ranges.  But I’m not opposed to nine dollar clip-on lights from Ikea. Do whatever works for you.
  4. Ventilation – You got fans?  You will.  Especially if you are working with toxic materials like oil paints and thinners and such.  You need some fans.  If you are close to a window see if that window can be opened from time to time.  Get some air moving through your space.  Also, this is just good for your sanity.  I don’t work with toxic materials in my space but it gets dang hot in there on warm days and a fan is crucial.
  5. Storage – After you have made your fifth masterpiece you will start to really understand the need for storage.  You need to find a place to keep your work.  If it’s next to your table and you are painter, trust me on this, you will get paint on the finished pieces if you do not store them properly.  Finding a closet or a space to store your work can be challenging.  What you are looking for is a dry, clean, cool, and pest free place to store your work.  Keep it safe.
  6. Computer –  Not everyone but most people have a computer nowadays  This device can be super helpful in communicating with galleries, collectors, coffee shops, local art friends, and even Aunt Jeana who buys paintings from time to time.  Plus, eventually, we are going to track art and sales with this thing.  So get ready.
  7. Other Stuff – Make your space a great space to create.  Maybe a rug that really ties the room together. Or a music player that plays all your favorite Kenny Rogers tunes. Some people like house plants, skulls, toys, and whatever else may inspire them to be in the space and work.  Hopefully you are gonna be spending a good amount of time in your studio, so make it nice.  I have always wanted a big fat comfy chair in mine and luckily, my studio mate has a couch that we take naps on from time to time.
  8. YOU – Last but not least…YOU belong in your studio.  You may have to battle for time in your space.  I have an 8-year-old and recently have been dealing with lots of health issues so studio time is harder to come by.  One thing that helps is knowing when you like to work.  I like working in the daylight so that’s when I do my best work, while the sun is shining through my studio’s skylight.  I also NEVER work on art before 10;30 am.  It’s just a thing I know about myself.  So pay attention when you LIKE working best.  When I was younger I would stay up all night painting.  Now that rarely happens even if there is a huge deadline.  So figure out when you WANT to be there and fight for that time.

Your ideal setup? Maybe.

This should get you started on your home base.  These items are the same basic needs in all studios.  Most artists, from the dad in his kitchen making paintings to the fancy museum artist, need these things.  In the rest of this series we are going to talk about:

  • Finishing Your Work
  • Wires and Hanging Hardware
  • Pricing Your Work
  • Getting Work Photographed
  • Archiving Your Work
  • Scouting Galleries And Venues
  • Approaching Curators and Galleries
  • Deadlines and Delivery

All of these items are internal.  Meaning that all of them have to do with YOU and your studio space.  As we move through these things you will see how that relates to dealing with galleries.  You can think of the rest of the series as a Standards and Practices of your art biz.  And here we go, one foot on the path.  Until next time.


Road To Gallery Representation

(presented by Joshua Coffy and Claire Frost) for ArtSpan

Monday September 24th, from 6:30-8pm @ SOMArts Cultural Center

This workshop is free to all ArtSpan Members and sliding scale donation for Non-Members.  Come learn about how to get your work ready for galleries, how to approach galleries, and how to successfully navigate that part of the art world.  It’s time to learn to show your work.  Join me at this workshop as many of the things on this blog are in the presentation.  Facebook event here.



Express Yourself (Talking About Your Art)

How do you talk about your art?  Do you love each and every piece of your work?  Have you ever said that this piece isn’t your best piece?  Is that a good idea?

woman standing infront of a wall mount painting

Photo by Bara Cross on

One of the challenges of being an artist is speaking well of your craft.  At times, we can be unsure of a certain piece or have doubts about it and that can lead to talking about that piece in a negative light.  I have met with several artists in their studios and at openings that do this.  EVEN when you compliment their work they seem to want to bash it, as a form of honesty.  But this self-deprecation can be incredibly detrimental to the sale.  After all…if the artist dislikes their own piece how do they expect anyone  else to like it?  Patrons want to buy work from artists that LOVE their work.  So let’s dig into this a little deeper.  Here is a recent conversation I had with an artist…at their opening.

Joshy: “Hey, congratulations on the show everything looks terrific”

Artist: “Thank you.  Thanks for coming out.  How are you?

Joshy: “I’m doing great.  Wow.  This bird piece is my favorite one in the show.  Just spectacular.”

Artist: “oh that one.  yeah well, it was a really tough one to do…I made a lot of mistakes on the feathers.  I’m sure you know how it is.  But I think it came out ok.”


At that point, I wouldn’t have even looked for mistakes in the feathers.  And, if I had seen something, who is to say that wasn’t a stylized choice made by the artist?.  Internally as artists we know all the mistakes with our work. But get this…WE are the only ones that usually see them as mistakes.  The viewing public sees these things as artistic expressions.  So you don’t have to give a disclaimer to all of the problems you have with your work.  When someone sees your work for the first time and they make a connection with it.  LET IT BE.   They like it for their own reasons.  You certainly don’t have to undercut their expectations and connection by saying you didn’t like it.

Age Of Wonder

Age of Wonder (Line Drawing Piece)

One year at open studios I had meticulously put up several paintings in my studio.  And just for fun I put up a panel on my easel with just the background and a line drawing on it.  I figured it would show my process.  Literally, it was a colorful panel with a bear line drawing on it (Left)….in white charcoal pencil.  After an hour or so into day one, a woman came to see my work.  She loved it all and looked at the piece on my easel.  Before I could say ‘Oh that’s a piece I just started and its a bad line drawing…etc.’ She looked at me and said, “I will take it!”  I hadn’t even considered selling this unfinished work, it was literally just a sketch.  But she loved it and HAD to have it.  So I told her I needed a day to varnish it and then I could deliver it.  She paid for it in full and walked out.  I was shocked.

You never really know what people see.  And it really isn’t your job to GUIDE them.  Your job is just to make the art.  If you don’t like something, guess what – You get to paint something similar on the next 500 paintings.

Now before we get too far off track…Let’s go back to talking about your work.  It is imperative that you speak well of your work especially if you want it to sell.  Patrons and supporters want to support someone they believe in.  And if you believe in your art…they will too.  Now, how do you do that?  Where do you start?  Try appreciating all the things that this painting taught you.  Maybe you struggled with it during the drawing part.  Well, that is a good lesson that drawing takes practice.  Maybe the colors never were quite right for you….again color and composition are a skill that takes years to get a handle on.  If you look at each painting as a learning experience you will have better things to say to people.  When you speak about your work from a place of appreciation it is far more positive than the deprecating negativity bits.

Patron: Speaking of one of your challenging pieces – “I really like this crow piece you painted it’s so colorful”

You:  “Thank you,  I am so glad that you like it.  This piece taught me a lot of new things about colors.  And I am really happy to have learned about some new color combinations…”

Sounds way better than “yeah that one was a huge pain in my ass and I can’t believe you like it.” doesn’t it?

So try starting with an appreciation for each painting.  Another technique I use is Talking Practice.  I learned this from rock musicians.  Whenever big fancy rock bands come out with a new album it’s always “their best album yet”.  At least that’s what they say.  Why do they do this?  Do they always make the best albums…no.  They do it because they want you to check out their latest work.  Artists can do the same thing.  Each new thing you make may not be your best.  But no one really knows that, especially if you say that this is the best for where you are right now.  And maybe you did struggle with some pieces in this series which is actually part of the gig. After each piece is finished in my studio, I practice the things I am going to say at the opening about it.  And I connect a cool story to it and practice that before it leaves my studio.  Then I’m better prepared to talk about each piece to people at the opening in a positive upbeat manner instead of relying on self-deprecation.  Give this a try for yourself.  I would love to hear what kinds of things you say about your work in the comments below.

photo of woman painting in brown wooden easel

Photo by Burst on

Lastly, there is a weird paradox afoot with art making.  Over the years, I have found that the pieces I have made that I thought were absolute shit and weak for whatever reason, sold first.  That piece I hated was sometimes the one that sold first at open studios or gallery openings.  Someone would come in and be like “THAT is my favorite one of  yours!”  WHAT?!  Conversely, the pieces that I think are my absolute masterpieces are still in my inventory.  So it behooves you to speak well of all of your work.  It’s all part of you and your journey.  And you never really know what people will connect with….again your job is to make the art and present them all together so people can make up their minds.  Don’t stand in their way with negativity.  Thanks.  Until next time.



Edited by Harmony Anderson.  Written by Joshua Coffy.