Why Purchase Original Artwork?

In a world dominated by mass production and digital reproductions, the allure of original artwork remains timeless and profound. Owning an original piece of art is not just about decorating a space; it’s about investing in a unique creation that carries the artist’s vision, passion, and craftsmanship.

Uniqueness and Personal Connection: In contrast to mass-produced art you can purchase in a mass retailer or box store, original art pieces are each totally unique. They provide a direct link to the artist and their creative process. Every detail — the brushstrokes, textures, and color selections capture the artist’s feelings and ideas at the moment of creation.

Supporting Artists and the Art Community: Buying original artwork provides direct support to artists and their work. It allows them to keep creating and enriching the cultural scene. By investing in original art, you nurture creativity and help artists maintain their livelihoods, and this is as encouraging to the artist as it is humbling. That someone would part with hard earned cash for one of my paintings — that demands the very best I can do every time I paint.

Investment Potential: Original artwork has the potential to increase in value over time. Although not every piece will become a financial asset, many artworks appreciate as the artist’s reputation expands. This potential for growth makes original art a valuable investment, both in terms of financial return and aesthetic enjoyment.

“That someone would part with hard earned cash for one of my paintings — that demands the very best I can do every time I paint.”

Emotional and Aesthetic Value: Art possesses the ability to stir emotions, ignite inspiration, and alter environments. A unique piece can bring happiness, stimulate contemplation, and craft a distinctive atmosphere in your living or working space. The bond you form with an original artwork can offer enduring contentment and a sense of accomplishment.

Cultural and Historical Significance: Original artworks frequently embody the cultural and historical milieu of their creation. They act as concrete chronicles of artistic trends, societal shifts, and individual stories.

To wrap it up, purchasing original artwork is an investment in creativity, culture, and personal enrichment. It offers a unique blend of aesthetic pleasure, emotional connection, and potential financial gain, making it a valuable addition to any collection.

How do you determine the best size artwork to purchase?

I have found that about half the people who wander into my studio don't seem to be too worried about the size of the artwork they're considering purchasing. They have a general idea of what might look correct and from photos they send me of my painting installed on their wall, they're often spot on when it comes to the size of the artwork. The other half of my clients go home and measure their walls. That may be really helpful to avoid a mistake. I've had people tell me they've cut pieces of cardboard to different sizes and tacked them up to the wall. That's a great idea. The other option is to enlist my help with sizing. In this case, my client sends me a photo of the wall in question along with some basic dimensions, and then I take the photo into Photoshop and insert different sizes of gray rectangles on the wall, so my client can see a variety of proportions and sizes.  Either way, cardboard or Photoshop can help you visualize exactly what a specific size painting would look like on your wall.

So how do you figure out what size is really best for your space? It kind of depends on a few things. First of all, how big is the wall and what other art is already installed on it? You might consider a small piece of art as an accent piece. An accent piece works best when it contains the complementary color of the main color in the room. It can also be much brighter in color than you'd want in a larger piece. Think of a gemstone on a black velvet background. An accent piece can scream at you "LOOK AT ME!" and that works because it's small. 

Or you might need a stand alone piece above a bed or couch. In that case, the size of the bed or couch would determine the optimal size of the painting installed above it. I always recommend choosing artwork that's just a bit smaller than the width of the piece of furniture it's hanging above. If it's too large, it will look ridiculous (see above photo). 

The other (and uh...my favorite) option is to choose a very large "heart stopper" piece of art on a large wall. This sort of artwork should be a real "statement piece". Where the accent piece can shout at the viewer, the statement piece should sing (very loudly). The size and the subject matter should work together to produce an emotional response. I once had a 6' x 8' painting hanging in the back of my studio, and I could always tell when a studio visitor rounded the corner because I'd hear things like "Oh...my...gosh" followed by silence as they just stood there. I love that! That's exactly what I wanted when I painted that piece. 

So what do you want? What do you need when you consider artwork for your home? Whether it's small, medium, large or gigantic...talk to me. We can figure something out that works best with your specific wall and color scheme. 

"So, what's this painting worth?"

I don’t know why I get this question, but a few times a year, I get a call from someone with a painting to sell me. The call goes like this: “Hey, my grandmother has an original signed oil painting and it’s really nice. It’s signed ‘Wilson’ and she said she paid a lot for it. What is it worth, do you know? And would you be interested in it if I sold it to you at a discount?”

So then, I explain to them that I’m not an art appraiser and I don’t run an art auction house. I’m just a painter, and although I understand it’s a “signed” painting, that really doesn’t mean anything to me because heck, when I took my first oil painting class at the age of nine, I signed my paintings when I was done, but I assure you, I painted nothing at the age of nine that was worth anything at all except to my parents.

“ If your grandma enjoyed the painting,

it’s fulfilled it’s mission”

Honestly, you are probably okay just selling the piece at a garage sale. If that just makes you cringe, then here are a couple of things you might try first. You might take it into a reputable art gallery (where they sell the work of many artists) and ask the gallery manager for some advice. They may have much better advice than I have, because I’m just an individual artist and not a gallery manager or art auctioneer. You might also google the artists name just in case there’s something written up about them. That might give you a clue. If there is something written up about the artist, you might try to find a gallery that carries their work and approach the gallery manager. They may (??) actually be willing to purchase the piece if it’s worth it to them.

But again, 95% of the time, it’s probably not worth the time involved in trying to sell grandma’s painting if it requires doing more than what I’ve just suggested. The whole reason to purchase artwork is because it’s something you enjoy. If your grandma enjoyed the painting, it’s fulfilled it’s mission in life and the artist should be happy to hear it brought joy to grandma. That’s awesome. That’s really what art is all about.

New Goals + Winter Months = "Outside the Box" Creativity

During the winter months, Asheville's River Arts District turns into a ghost town, but I've found the winter months to be an awesome time to think, dream, imagine and plan new work. When it's slow and I have time to catch my breath a bit, that's when I start thinking outside the box. Boredom is something I dreaded as a kid, but now as a full time artist, I’ve recognized boredom is kind of a gift to creativity. Down time is when my creative brain really starts firing and I begin thinking things like “I wonder how I can do THAT” or “What would happen if I tried THIS?” There’s only one way to find out (and then boredom ends, having done it’s job).

Over the years, I've primarily focused on landscapes, but I've had time to develop some really interesting directions as far as abstract pieces go. Ideally, I would like to have a better balance between the two styles (landscapes / abstracts) because they require such a different creative approach, and that keeps life interesting!

And, in addition to working on paintings for my studio in Asheville, I'm also creating several new landscape pieces for Mountain Nest Gallery in Black Mountain, NC and several new abstracts for Revealed Gallery in Charleston, SC. I’m so grateful for how these galleries have exposed more people to my work than otherwise possible with my studio in Asheville.

Oh, also (on a more business note)…I’ve begun to offer payment plans for people who want to purchase my work. Here’s how it works…If you purchase a completed piece or commission a custom piece from me, you can take up to nine months to pay for it at no interest. When the last payment is made, I ship the painting to you (and...shipping costs are on me).  

So, 2024 is shaping out to be a really fun (and hopefully) challenging year, as I continue to develop this technique of mine and see where it goes and what it becomes, and that is incredibly exciting for me. 

When Remodeling a Home...

WHAT’S WRONG WITH THIS PICTURE?

Waiting until AFTER you remodel the space to consider artwork may be a really bad idea!

I paint and I sell my paintings. That’s my job. One of the biggest parts of this process is working with clients who have just remodeled, or are considering remodeling their home. A comment I often hear from people who are knee deep in remodeling is, “We just realized we have all these walls we need artwork for!”

Yep. That’s often part of the remodeling process. When you build more walls, you create…uh…empty wall space. I love that because it keeps me employed but oftentimes, artwork is the very last thing to be considered when working on a remodel. This is sad because by then, the budget is gone and unfortunately, artwork is not free.

The placement of artwork is really important though, and it should be considered early on in the process. I’m not saying you need to have all the artwork pre-selected before starting remodeling. That isn’t wise. What I’m saying is that you should plan on walls where you want to install key pieces of artwork. Pre-plan those areas because it’s easy at that point to install the correct lighting above the where the artwork will go. It’s so much more difficult to retrofit a space after the fact. And why pay thousands of dollars for a statement piece of art and not have it lit correctly? That just doesn’t make sense.

For a really helpful list of things to consider when remodeling a home, check out this link to a Redfin blog post I was asked to be a part of: Redfin’s Living Rome Remodel Tips. Artwork isn’t the only thing to consider, but it’s usually the last thing people consider and at that point, people are kicking themselves because artwork can theme a room, elicit emotions, pull together colors, and basically put a huge exclamation point on a great design.

Artwork is really important. Buy it on a whim. Yes please. But when you’re remodeling, PLAN AHEAD for it. And feel free to talk to me. Give me a sense of your taste, color samples, emotions you want people to feel when entering the space. All that helps. The right artist will collaborate WITH you and create something that is perfect not just for your space, but for your individual personality. That’s the amazing power of art.

Your Opinion Please...

Okay so, I have a question and I’d be really curious about YOUR answer (ALL OF YOU READING THIS). True confessions…I love to explore, and then I love to paint what I find on that exploration. Most of what the visitors to my Asheville studio see on my gallery walls is the result of me painting what my wife Joy and I discover while exploring the western North Carolina mountains.

I was told years ago that what I paint and display in my Asheville studio should be (since it’s western North Carolina we’re talking about) Western North Carolina scenes. If that is really the case, I can be happy with that guideline probably forever. I love this part of the country. I love our gentle mountains. Places like Grandfather Mountain, Gorges State Park, Smoky Mountains National Park, and pretty much any vista seen from the Blue Ridge Parkway — there is far more than one lifetime of potential paintings right here. But…

In your opinion, should I stick mostly to local scenes or when I travel to various parts of the country (or various parts of the world), would you like to see paintings inspired by those places? I love painting. Period. I could probably paint my navel and be happy (but it would not sell). Trust me on that. I need to paint sellable paintings since selling my paintings is what I do to pay my mortgage and buy food to eat. And I like food to eat. I need what I choose to paint to (eventually) be sellable. So do I paint what excites me even if it’s a scene that is set far from an Asheville, North Carolina locale, or should I play it safe and continue to mostly paint local scenes?

That’s my question. And your response here would be SO much appreciated.

"What's Your Best Price on This Piece?"

Most of the time, when people visit Asheville and come into my studio to browse the artwork, they either like it or they don’t. If they don’t like it, they leave. If they like it and if the price fits their budget, they make a purchase. Of that group of interested people though, are people who like to play the “what’s your best price?” game. Don’t get me wrong. I LOVE that game. I love talking someone down in price. It’s part of the fun of going to a garage sale. But…other than buying a house or a car, people don’t EVER try to bargain their way to a lower price with what they buy. I mean, imagine you’re at Walmart or Kohl’s or Home Depot and EverGreen Garden Center and you go up to the cashier, they inform you your total is $60.54. Is your response, “Okay, would you take $40?”

“The way I was taught to price my artwork makes the most sense…”

But there are people who buy artwork that way. I even had a gentleman visiting my Asheville art studio a couple years ago and he was looking at a painting and hollered across the room “well, you don’t seem to want to sell THIS one very much!” That was his way of asking if I’d come down in the price.

The way I was taught to price my artwork makes the most sense, and I wish everyone understood that I never price anything on a whim….”Oh, this one is awesome…I’ll price that high. This one…this is just okay, so I’ll price that lower.” If something is just “okay” I don’t put it on my wall. I remove the canvas from the frame and start all over. What ends up on my wall represents the best I can produce. I think everyone visiting my studio in the River Arts District deserves that. The only thing that determines my price is the rate of my sales. This year, I’m charging $3/square inch for my work. When I started selling my art, I was at $2.50/square inch. That was fine for a while, but when my artwork was selling faster than I could replace it on the wall, I bumped the price to $2.65. Then a year later, I had to bump it again, and then again. My goal is to paint as fast as I sell them.

All that said, if someone purchases something really large, or wants multiple pieces, of course I’ll give them a break on the pricing. THAT is the only point things get subjective as far as pricing goes. But I want to say “thank you” for someone willing to invest that much in me and my craft, and the most logical way to do that is by giving that type of a client a price break.

Aside from that though, I never, ever set prices based on what I “think” it’s worth. Based on my sales, I know what it will sell for and that’s the price I write on the tag. This is really important for my clients as well. They need to know that the value of the art they purchase is based on something more than what I “felt” like pricing it at. And so far, almost every year since I’ve started painting, the value (as set by purchases) is raising.

So setting prices is really a very simple and straightforward thing. If paintings sell too slow, you lower prices. If artwork sells too fast, you raise the price just a bit to slow sales down to a comfortable level. That’s how I was trained anyway, and it makes the most sense to me. If you have any questions or comments though, I’m really open to hearing.