Often people ask me, with some enthusiasm, “Wow, how much time did that take you to make?” The implication being more time committed = more impressive. I answer with my best guess estimate—4 hours, 32 minutes or whatever.
For example “Blue Matrix Forming” required quite a few hours inking with a 08/.50mm black Micron pen (and sometimes the 005/.20mm) as you can imagine. That was the only consistent way for me to get that rich archival black. So I’d guess about 12 hours of such inking + 5 minutes of manipulating the blue acrylic ink onto the paper. This does not factor in the time or cost in acquiring materials, drying time for the inks or recovering from eye fatigue and hand cramps.
For example “Blue Matrix Forming” required quite a few hours inking with a 08/.50mm black Micron pen (and sometimes the 005/.20mm) as you can imagine. That was the only consistent way for me to get that rich archival black. So I’d guess about 12 hours of such inking + 5 minutes of manipulating the blue acrylic ink onto the paper. This does not factor in the time or cost in acquiring materials, drying time for the inks or recovering from eye fatigue and hand cramps.
Yet I really do have to add to that 12 hours + 5 minutes about 71 years for me to come up with the concept and skill. Whatever I make includes my years of living.
Then we have a more Minimalist piece I recently did called “Pierced Circles.” (If unfamiliar with the term “minimalism” see http://understandingminimalism.com/introduction-to-minimal-art/).
Then we have a more Minimalist piece I recently did called “Pierced Circles.” (If unfamiliar with the term “minimalism” see http://understandingminimalism.com/introduction-to-minimal-art/).
I started “Pierced Circles” with a much more convoluted intent—there was to be background shapes and colors, textures, relationships, etc. The overall intent was to move into creating a statement about the idea that every beginning has an ending and this is acceptable.
But and however, each artwork involves a conversation of sorts. It talks to the artist and the artist talks back. And once I ran the “piercing” line through both circles with a black Derwent watercolor pencil, the piece quietly maintained “I’m done. Do not touch.” The positioning of the circles and black lines, the slight variations in yellow, the minor hint of a graphite outline to the circle, the empty white space, all contributed to complete this statement. I believe it is successful.
So, when I price my artwork I don’t necessarily factor in time spent as part of the end valuation. Some pieces appear more successful than others and those I might value more highly. Some are complex, some not so much so. It really doesn’t matter. The criteria are impact, on viewer and environment, and intent.
Stay tuned for what I do with the idea that every beginning has an ending. I’m curious too.
But and however, each artwork involves a conversation of sorts. It talks to the artist and the artist talks back. And once I ran the “piercing” line through both circles with a black Derwent watercolor pencil, the piece quietly maintained “I’m done. Do not touch.” The positioning of the circles and black lines, the slight variations in yellow, the minor hint of a graphite outline to the circle, the empty white space, all contributed to complete this statement. I believe it is successful.
So, when I price my artwork I don’t necessarily factor in time spent as part of the end valuation. Some pieces appear more successful than others and those I might value more highly. Some are complex, some not so much so. It really doesn’t matter. The criteria are impact, on viewer and environment, and intent.
Stay tuned for what I do with the idea that every beginning has an ending. I’m curious too.