I’ve been submitting work to galleries seeking representation, with the explicit understanding that galleries in general don’t represent artists who don’t have a history of gallery representation. It’s the same with any type of publishing; known entities trump the unknown. I’m working to avoid having a scattershot approach to finding representation- you know, everything everywhere all at once. So I’ve focused on mostly regional galleries and have exhibited some work in a few salon shows locally and in Erie, PA. I ‘m exploring the possibility of artistic grants, but most of that cycle happens in the late summer/early fall of the previous year.
But my primary goal is to find a gallery that will exhibit and promote my work. I’m finding already though that I’m seen as a ‘photographer’ because my work is, yes, photographically based- and that’s a problem. Photographers are Webelo’s of the art world. Not quite the real thing. It’s difficult to explain the uniqueness of the pieces I make, and that they’re not simply a printed photograph. I say in my best artspeak that, “Each gelatin transfer bears the unique marks of its own making and is by nature one of a kind”. Basically, I make one, and if I’m satisfied with the result- that’s it. Done and dusted. No more for you. Now, I can for certain make traditional pigment prints and am happy to do so, but by their nature they are not unique. And that’s where the confusion begins and the discussion ends.
The gallerists I’ve spoken to have all told me, “We already have a number of photographers under our representation”, which is fine- but truthfully, their stuff ain’t nothin’ like mine. My stuff’s non-traditional, atypical, unique, distinctive. And right now, it’s all sitting in my studio looking for a home.
I’ve been encouraged to add a print on demand section my website- I can make up to 12”x18” pigment prints in my studio, and would be happy to do so. But it’s not really what I want to do. I dunno, we’ll see. Finding a gallery is my goal, and I’ll continue to make that my focus until I run out of room to store all the framed transfers I currently have on hand. If all else fails I can always set up a table in the driveway when the good weather returns. We have a pretty good traffic flow in the summer.
In the meantime, I’ll continue to make new work. I recently revisited a sunflower session I photographed last fall and found some stuff I overlooked at the time. It’s good- and think there is a little more I can do with it. I’m also experimenting with some new multiple exposure techniques I’m finding promising. So, for now the hurry is over, but-
The waiting is the hardest part.