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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. By who? 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.
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In the studio I grow my ideas into the physical language of the world A bubbling of life breathed into material movements togethernesses combining relationship joining in the tradition of puppetry as an external poetic study of body movement to movement rigid to fluid holding letting go setting objects free to become another thing fluid nature of identity explored through materials reflecting a wish for freedom divergent ways to bring together form shape being idea fits idea sits 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 bodies I make bodies expressive bodies finding the limits of communicating body and self (this is my journey from the figurative) this with that forms colours joined parts 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 holding feeling inserting embracing absorbing uniting expressions of unity unlikely joining growth in my fascination in the fragile/the weak - holding/supporting - the solid/the strong completely still absolutely dynamic  Body (2022)  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 My drive to be productive replaced with wind and birdsong The city I inhabit frames this place yet cannot contain it Nature lurches grips grabs flits flaps squawks expands infuses inspires contracts Season's change everywhere in everything this is where life breathes life Flies butterflies dragonflies birds in flight and pylons and trains 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 enmeshed within the solution 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 and feels and moves the world the human the person senses or feels in every different way that every different human senses and feels impressions colour smells feels walking feet conversation ground fluid air life nothing is simple everything is simple the setup for everything is exquisite in unity and multiplicity all of this I pass through all this air component parts to understand simplifying is necessary so then it is simple because an actual physical experiential 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 opportunity outside of arrogant reductionism reducing things down to human experience allowing the importance of that which is not us but which acknowledges us just as I walk past horses in fields pillons someone with a weed strimmer in Walthamstow Marshes birdsong insects fly late spring mid spring spring following me in front of me moving away from me out of the space that I occupy as I move paths change my path alters others paths seeing talking feeling space watching observing the difference of space changing altering dancing in space Is everything we do perfunctory? a dreamer walks dreaming bumbles and chances upon gold gold? not gold gold not gold whether not gold or gold all surrounding is a conversation with me we share and watch space with the butterfly flutter camouflaged conversation with bird ends in nutrition all is ears and eyes and senses the mind takes this for its track minds 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 the interest of a cat space changes changes of space dynamic flow all is still never all is still not still things change and alter progression of change and alteration this is nothing to that that is nothing to this we find and locate space dynamic changes mating flies on a step as I walk down move out of the way change location 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 reduced will not survive only abstract like a line of no thickness on a CAD drawing its impossible 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 variable 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 computer bank 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 must be otherwise 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 all seeing god is all seeing all seeing every where perceiving seeing perception this is the thing this is the code This space surrounding
articulated 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 physical a material conversation multiple articulations a complexity simple and sophisticated This energy moving not often considered the absolute sustainable the engine of presence dynamic presence moving now Many leaves dynamic like us tendrils moving as we do the delayed effects of our passing Obvious then mysterious in equal measure If I consider what this work is responsive articulate a presence 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 |
June 2023
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