How long did it take you to make that?

Years ago, my income relied on gallery sales, summer art festivals, and holiday bazaars.  At some point, commissions began to pick up and I was getting into more exhibitions, and I found that it was no longer cost effective or satisfying to make a ton of "affordable" artwork on the off chance that someone would buy it.  And I was missing out on a lot of weekend and holiday activities with my family in exchange for a few hundred dollars here and there.

My booth at an early art festival.

These days, I'm doing more large commissions throughout the year, with time between to make art for fun.  Some of my projects are for our house, and others are set aside for the next show.  Without current gallery representation or regular art festivals, I've collected far too much work that I really need to sell, so I'm looking at art fairs that might be a good fit for me.

But there is one question I hear over and over, usually from non-customers (those folks artists call "looky-loos.")  The questioner looks at the price tag on the item, skeptically eyes the artwork, and asks, "How long did it take you to make that?"  I try to give my best estimate: "Ten weeks?"  "Two days?"  The person dons an expression that conveys that it is too expensive.  Commonly, I get, "Hmm."  And they walk away.  I'm pretty sure all artists have gotten used to this, and have learned to just keep smiling and focus on the next potential customer.

Here is what I would like people to know:
An independent artist has far more overhead invested in a single piece of art than the hours spent making it.  First, I can make ten pieces before one sells.  When the work is not commissioned, you just make what you like and hope someone out there will agree, and that you and that person will somehow find each other.  So often, when someone buys a larger artwork from me, it is after having seen it in local shows for 2 or 3 years.  They tell me how it spoke to them, they thought about it a lot, they saved the money and finally felt ready to buy.

Me with a very early piece about climate change; Memory of Ice.

In addition to that time put in, there is overhead.  There are materials to buy.  People sometimes question me because I salvage my materials - so why is that a factor?  I can only salvage a portion of the materials, and there are always adhesives, grout, hanging hardware, etc. that give the piece structural integrity.  Also, salvaging takes a lot more time than simply purchasing items new.  I've driven two hours to Portland to go through a glass stash before it was tossed, and I've been given tubs of disgustingly dirty glass or tile to sort through.  It takes patience, commitment, and a lot of time.

Other overhead includes the cost of a studio, tools, professional development, insurance, business licenses, promotional materials, jury fees (astonishing expense), booth fees, taxes, office supplies, a reliable vehicle (can't haul art on the bus), and travel costs for workshops and exhibitions.  If I sell work through a gallery, I will receive only 50% of the sale.  Therefore, I need to be sure to add that cost at every sale/show because it is extremely bad form to have work at a gallery costing twice what I ask in person, and gallery contracts forbit it.  That commission covers the gallery's overhead, and actually does the same for the artist when we sell our own work.

At work in the studio.

You may wonder how it is even possible to earn a living as an artist?  I will be honest with you, and I think everyone should be more open about this: I know very few artists actually making a living.  Even the artists I know and admire who are well-known, whose work is outstanding, who are showing in museums at home and abroad - most are able to do it because there is another income source.  Some wholesale their work, creating something that can be reproduced in large quantities.  Some teach classes to pay the bills.  Some are retired on a pension or have a partner whose income covers the essentials (that's me.)  Or, they have a regular job that allows enough time to make art on the side.  Whatever the case, be assured that the pricetag an artist puts on their work does not come close to supporting them and their family.

I am not saying everyone should or can go out and buy expensive art.  It is a luxury.  Just be sensitive and understand how hard it is to put artwork on display and to hear dismissive comments.  If you like it, but it's out of your price range, that's ok.  If you don't like it, that's ok too.  But if you love it and can afford it, please consider supporting artists and crafters.  Those big corporations don't need it, and are doing everything in their power to keep your money instead of using it to provide the makers of goods a liveable wage.

If you made it this far, thanks for reading, and please support your local makers!