And so, the status of Christmas has officially shifted from being ‘a while away yet’ to ‘upon us’ with the usual blistering speed. As such, it’s time for people to participate in the hellish endeavour of present buying.
Among the hubbub, why not consider purchasing some of my festive offerings? For I am selling the scent of Christmas from Sheffield at a reasonable price!
For £3, (plus p&p) you can get your hands on a Christmas Tincture – an oil based scent full of the joys of Yuletide! Notes include cinnamon, clove, frankincense and orange, all contained within a charmingly decorated bottle:
For something with a little more bite, why not plump for my Christmas room fragrance? For £25 (plus p&p) you can experience 100ml worth of festive delights in a striking gold and white bottle. Notes once again include cinnamon, clove, frankincense and orange, but this time you can spray it around the home – creating magical Christmas scents with every spray! –
If you’re interested in either of these products, then send me a message and I’ll see what I can do! (although it’s UK only, I’m afraid) …Thank you! 🙂
Whilst ‘Shelf Life’ – My exhibition currently showing at Gage Gallery, Sheffield – covers a broad spectrum of concerns regarding food, one of its most coherent avenues of enquiry is the principle of aligning the value of art to the value of its subject: If a piece of fruit can be purchased with ease from a market stall then, in the interests of engaging an audience directly and with sincerity, a depiction of fruit should be purchased similarly.
So in that spirit, I present to you a body of work that incorporates the monetary value of painting into its conceptual grounding. In short, I have completed over 20 paintings of 7 different fruits, and I seek to sell them at the lowest price possible. The paintings are rough, honest works that will readily provide you with the same nourishment as a work that seeks perfection, only in a way that is accessible and relevant.
Each fruit painting is on sale for just £5. Or you can buy 5 fruit paintings for £20. Not only does this relate to the concept of aligning art to its subject, but it also offers you the opportunity to buy original paintings at a very reasonable price. In doing so, you’ll also be supporting art in relation to the local community, and that’s always good.
If you’d like to buy any of my fruit paintings, then come along to Gage Gallery, Kelham Island, Sheffield, where they’ll be on display until 12th March. Alternatively you can email me about them, and I’ll see if I can arrange getting them to you. My email is email@example.com. Come get ’em while they’re fresh!
I’ve made some lovely jars of paint. Now what?
I have now been living in Sheffield for over two months and, frankly, I think I’m doing rather ruddy well. I have secured a house and a studio space. I am critically engaged with an increasingly intriguing aspect of my artistic practice, I have another job that allows me to purchase art materials and pay the bills, and most significantly of all, I’ve got myself two bloody lovely bedside cabinets made from old apple crates.
If I reflect upon my artistic output over the last two months it is fair to conclude that, despite a lack of much actual practical work, it is clear that the notion and process of making paint is increasingly embedding itself as the spine of my artistic output. If anyone were to ask me what kind of art I do, I’d reply assertively with the bellow ‘Well, I make paints using food.’
Yet the process of making paint is not yet a comfortable one: There are still mistakes to be made, egg shells to be cracked in vain, and plenty of grounded food to be condemned to the bin due to some kind of ‘experimental’ failure. There is something fundamentally engaging about artistic practice that is not processional, and a great deal of professional development is emerging with regard to the physical practice of making paint. My confidence in producing quality paint is ever increasing, and eventually I hope that no egg shell will be cracked in vain.
Yet there are still questions to be raised and answers to be given. And one particularly nagging question I find myself posed with currently is ‘what exactly is my end result?’ Is it art, or a commercial product?
The answer, I believe, is both. There is no reason a jar of paint cannot be subjectively engaged with. Yet at the same time, the very reason for a jar of paint is for it to be used. Therein lies a great source of intrigue. If I consider my paint to be a work of art, then it is an evasive one. It doesn’t possess an identity because it has not yet been used. And if it does get used, the conceptions and associations contained within it will still remain: It is possible for my work to exist within another’s work. Incognito, it will not be experienced as pure paint, yet it will always be there, hidden within.
And if it’s a commercial product, then it is one that possesses spiritual and conceptual value. The beauty here is that I am able to market my paint both as a work of art and as a product. A win-win situation, if you will: I am able to exploit the rich conceptual element of my work in order to concern myself with exhibition proposals and research grants, and I am able to provide the public and artists with a unique and usable product. So I guess all that’s left to do now is stop talking and go out there and bloody well sell!