Reflections on a fair way to price my art works and why I support price negotiation.
Without price negotiation “price” is accepted to exist as a god-like, solid and absolute value assigned by the seller.
Any negotiation of price is potentially accompanied by embarrassment and/or loss of face, loss of honour, loss of respect, on the part of the buyer to the seller and to themselves.
The price is the same for all.
Another way is;
A suggestion of price is offered by the seller, this price sits at the upper level of what they believe the buyer is willing to part with.
The buyer has the choice to accept this price or, without self judgement or judgement by the seller, to suggest a price which they can pay and are happy to part with based on their actual personal financial situation.
The buyer also knows from the initial proposed price offered by the seller an upper value assigned to the thing being sold.
This they will take into consideration when making their suggestion.
Perhaps the value assigned by the seller is so far above the buyer’s means that they decide not to continue, or they can take courage and suggest an amount.
This may be accepted by the seller or another price proposed closer to the buyer's suggestion.
A flexible pricing structure is created negotiated fairly based on both sides.
More effort is required for this form of exchange but I believe that the result is fairer and a stronger relationship is formed.
By placing what is desirable at a value completely out of reach to most people, this ultimately benefits a wealthy minority and aids a culture where all want is set artificially at absolute and inflexible value.
Value is not inherent.
Value is assigned.
The price is generally set specifically aimed at the societal group which can afford this price and so reserves this content for a tiny minority.
Is this a system which will reward innovation and risk-taking-potential in the arts?
It would seem rather that this system rewards the replication of what has succeeded previously and also what panders to the fantasies and tastes of a minority.
In the studio I grow my ideas into the physical language of the world
A bubbling of life
breathed into material
in the tradition of puppetry as an external poetic study of body
movement to movement
rigid to fluid
setting objects free to become another thing
fluid nature of identity explored through materials
reflecting a wish for freedom
divergent ways to bring together
the physical expression of my self
in many forms and ways
these are selves
these are expressions
reflecting through material
moving in ways which are unusual
and ways which are recognisable
I make bodies
finding the limits of communicating body and self
(this is my journey from the figurative)
this with that
parts which are not joined
shifting and moving
moving without purpose
bodies of non defined fluid purpose
my understanding of mechanism is modelled on the living body which I am
expressions of unity
growth in my fascination in
the fragile/the weak - holding/supporting - the solid/the strong
The RA Summer Exhibition runs until 21 August.
My art work 5 6 7 - blue harnesses the energy of air displaced by passers by to generate its movements.
The form is a continuation of my homage to the adaptive ingenuity of this nature of which we are all a part.
Fittingly my sculpture shares a room with architecture and structural ideas as well as other art works. This room is rich in concepts, colour and also significant and practical solutions.
Here in the Large Weston Room there is so much to experience and yet miraculously there remains a sense of spaciousness, so that 5 6 7 - blue can breath and relish in the good company it is keeping.
Congratulations to Rana Begum and Níall McLaughlin on their selection and hanging of this hive of brilliant ideas, and thank you for allowing me to be a part of this.
This room is featured in The Guardian within an article specifically about the architecture rooms in this year's Royal Academy Summer Exhibition.
Poem - Walthamstow Wetlands 20 June 2022
Film - Walthamstow Marshes 27 May 2022
What are the wetlands to me?
to walk through the Walthamstow Wetlands
to be productive
replaced with wind and birdsong
The city I inhabit
frames this place
yet cannot contain it
this is where
birds in flight
Nature here accepts all we place within it unconditionally
A leaf dances on the concrete
Its pretty beautiful aye!
(for a big machine)
Imagining a vast mechanism
which is the liquid environment
we are a part of
the world has ears
the world has eyes
the world can smell
the world touches
or feels in every different way
every different human senses and feels
nothing is simple
everything is simple
all of this I pass through
all this air
to understand simplifying is necessary
so then it is simple
we are of the same language
experientially we converse
and are detected
by everything we walk through
the stick falling
in the forest with no one present
falls on the ground
whether anyone is present or not
what is sound which is not heard
by human ears
outside of arrogant reductionism
reducing things down to human experience
allowing the importance of that which is not us
which acknowledges us
just as I walk past horses
someone with a weed strimmer
in front of me
moving away from me
observing the difference of space
changing altering dancing in space
Is everything we do perfunctory?
a dreamer walks dreaming
whether not gold
all surrounding is a conversation with me
the butterfly flutter
conversation with bird
all is ears and eyes and senses
the mind takes this
for its track
the mind takes things into the mind
but the mind does not occupy the sensory world
other than as
a switch board
the switch board is
not the function
all is sensors and response
everything I pass notices and articulates response
in the slightest way
quiver of a leaf
a darting of a robin
of a cat
changes of space
all is still
all is still
this is nothing to that
that is nothing to this
we find and locate space
mating flies on a step
as I walk down
move out of the way
I am part of this
I am this
each part is entire
each part is the whole of this
there is nothing outside of this
we can not be reduced
each part can not be
will not survive
like a line of no thickness on a CAD drawing
the line always has thickness
otherwise the line is not visible
a visible line can not have no thickness it just has a thickness at a certain time
its not true
it is true
that the code of all of this is somehow separate from all of this is an extraordinary notion
that the code is stored
that there is a
there is somehow a central
with a plug
going into an energy reserve
but what if
the articulation was coded from within
that the energy was stored entirely from within
that there is nothing which is not that
there is no outside
there is none
there is no outside all seeing god
all seeing god is through everything
it is not omnipotent
omnipotence is all present
the clue is in the word
its impossible to be all present
unless you are everywhere
therefore god is everywhere
god is all seeing
this is the thing
this is the code
This space surrounding
sensing this emptiness
fluid changes we fill
direct in relation
through approach we converse with the space
seeing how our movement and our
conversation alter this which we
do not see
Shaping the unseen
the air we displace is affected by us
we have consequence in our now
in our being
this that we are
a material conversation
simple and sophisticated
This energy moving
not often considered
the absolute sustainable
the engine of presence
as we do
the delayed effects of our passing
Obvious then mysterious
in equal measure
If I consider what this work is
as a living thing
Harnessing the energy of life
the movements and changes of the surrounding air
the approach of the viewer inspires a reaction
the space is transformed through us
consequence in action
energy all pervasive