Category: marketing

As you can see, my affirmations are heavily weighted around the people needed to feel successful. The same is true for my art business and marketing programs at Art Biz Success.

I don’t believe in fast fixes.

I don’t believe in positive words for their own sake.

I believe that an artist’s career blossoms to the extent that they are willing to make meaningful connections to build their network. It’s the people you know who will value your work. They will show it, sell it, buy it, and tell others about it.

Collectors don’t appear out of thin air. You must cultivate collectors.

See how we do this in my Essentials for Artist Success program.

by Carolyn Edlund

Does your work stand out, with a recognizable and memorable style that says it’s yours?

The founder of a photography school once bemoaned the fact that she constantly received submissions from artists consisting of photos of old barns. She exclaimed, “I’d rather receive almost anything else. I’m so tired of seeing the same old, same old!”

She had a good point, since many artists’ portfolios are similar. The trick is to differentiate yourself from the rest of the pack and set yourself apart—and to do that on the strength of your portfolio.

When you’re just starting to make art, studying the basics in class or taking a workshop, it’s typical to copy. That’s how we learn. We may emulate great artists. Or we may carefully follow a teacher’s instructions, attempting to master a technique.

After you have gained the skills you need, you are ready to spread your wings with new ideas and directions. Then you can carve out a niche of your own in the art world. This is one  advantage of going to graduate school. In that educational setting artists can experiment in a safe environment, receive critiques and mentorship, and begin to think about art on a higher level without the pressure of selling or displaying their work.

Other artists do this intuitively by themselves. They devote many studio hours to a particular direction or technique, and creating their own unique signature style.

Some people say there is nothing new under the sun. Even if that is the case, every artist who is consciously developing their portfolio must move beyond what they’ve learned. To stand out and be memorable and remembered, you must create an exciting and original body of work that bears your own “look” and style.

Otherwise, you may remain in a rut, continuing to make the same type of art learned in class and unable to break out. And possibly to take yet more photos of old barns!

Do you currently have a recognizable signature style? How would you describe it? What is memorable and recognizable about your work that makes it your own? If your art were all shown in a gallery, would it be clear that it all belonged together, with your recognizable stamp upon it? Or do you need to put in more studio hours honing a clear direction and developing your portfolio further?

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Artist Susan Miller-Havens presents a collection of paintings that capture human relationships with humor and insight. Find more of her work by visiting her website.

As I enter my eighth decade I am reflecting on where my thirty-year art career has been and where it is going now. I have always been fascinated by human nature. Most all of my paintings are about relationships. Some portray complex individuals whom I got to know.

“El Orgullo y la Determinación“ (detail) Portrait of Pedro J Martinez, oil/wax on mahogany custom indigo blue wood frame, Permanent Collection National Portrait Gallery Washington D.C., 21″ x 57″ x 3″

Some are strangers whom I did not get to know.

“We Are Not Privy #9” oil/wax on board, custom Dutch black frame, 18″ x 18″ x 1″

Some are people from my imagination.

“Rush Hour Morning Meeting ” Zooming Out Series, oil/wax on board custom black frame, 25.5″ x 19.5″ x 2″

Four years ago, during the Pandemic shutdown, many of us began to conduct business and social life on Zoom.  What I noticed was, for those individuals who were isolated, there was a yearning for connection. Boxes on a computer were not the place to find comfort, but it was one avenue we had in order to be in the company of others.

“Wanting To Meet That Woman In Orange ” Zooming Out Series, oil/wax on board unframed, 14″ x 11″ x 2″

The “Zooming Out Series“ comments on that longing for connection with a splash of the surreal. Many years ago, I became fascinated by Salvador Dali ‘s Surrealism. I am a fan of the first late night talk host, Ernie Kovacs, a great inventor of visual effects.

Hands reaching out, birds flying into picture plane, people losing their name labels, participants trying to leave through the back of the computer, are my salute to the surreal. Actually, wanting to leave, feeling unsafe or feeling that things are out of control has been a reality for many of us in these past four years.

“Comings & Goings On Your Laptop” Zooming Out Series,
oil/wax on board custom silver-grey wood frame,
15″ x 12″ x 2″

I use paint to speak about what I see and what moves me. I love the lushness of oil and wax. I am a colorist who enjoys defining space through color, rather than line. Here Matisse, Manet, Albers, and Diebenkorn are a few of my influences.

“Working From Home The Best We Can” Zooming Out Series, oil/wax on board, custom black wood frame, 25.5″ x 19.5″ x 2″ Private Collection California

For instance, grey, depending on how cool or warm it is, changes the way we see the images in the painting.

“Family Meeting Falling Apart” Zooming Out Series, oil/wax on board, custom silver wood frame, 15.5″ x 12″ x 2″

I came late to this second career, but am glad to have been able to use my understanding of human nature and love of art to convey some of the subtleties in life. Over the last three decades I have worked on different size images and series. I am humbled that some have found their way to museums and personal collections.

As I think about what is next, I am seeing that some of the harsh effects of the pandemic showed up in the tightness of my strokes in “Zooming Out.”

“Time To Escape From Zoom!” Zooming Out Series, oil/wax on board, custom brushed metal frame, 18″ x 14″ x 1.5″

There was also another indication that I needed to stop. It is something that Jackson Pollack taught us when he went as far as he could in abstraction at the end of his white paintings: overworking the image. I saw this and the tightening up in this last painting. Time to stop this series.

Whatever I paint next will be a continuation of my goal to bring to the viewer some of the subtilties in human nature that I see.

Susan Miller-Havens invites you to follow on LinkedIn and Instagram.

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Artist Jessica Mungekar presents a collection of unusual sculpture that fulfills her artistic vision and contributes to the community. See more by visiting her website.

My professional development has been anything but a straight line. Growing up, I was immersed in the arts as my father was a sculptor.

“12-Inch Sphere with Night Garden” cement, acrylic paint, paint pens, sealant, 12″ round

Thinking I wanted to follow in his footsteps, I attended art school and earned my BFA. After graduation, I quickly learned that being a professional artist was not going to work out at that time. I floundered for a few years as a banquet server and then as a nanny before attending graduate school. This time I earned a Master’s in Social Work.

“String Garden Globe Painted Rust” cement, yarn, spray paint, sealant, 12″

I worked for a few years before admitting that that too, was a mismatch. Frustrated that my two ideas for careers didn’t work out, I decided to take a break from working and stay home with my then-newborn. I have been home with my children for the last 16 years. But in 2018 I began to open the door to art again.

“Bee Sphere, Stone House Village” cement, acrylic paint, paint pens, sealant, 12″ round

I always had a vision of being an artist who impacted communities, but I was unsure how to go about it in a meaningful way. During 2018, I missed making art and started experimenting with materials. Eventually, I discovered cement. Around the same time, I noticed that a majority of my previous art utilized circular shapes.

“Community Painted Sphere, Longport NJ” cement, acrylic paint, paint pens, sealant, 24″ round

Through contemplation, I discovered the power of the sphere. From that moment forward creating spherical sculptures became the focus of my artmaking.

“Bird Sphere, Yellow, Robin, and Brown Birds” cement, acrylic paint, paint pens, sealant, 12″ round

The sphere’s impact on humans has been around for thousands of years, in a myriad of ways. Some of them include philosophy, mathematics, nature, and spiritualism. For me, the spherical shape represents life itself, boundaries, and balance. When I started making spherical sculptures and they created the traction I always hoped for, I immediately knew that this was the work I was meant to do.

“24-Inch Blue Sphere” cement, acrylic paint, sealant, 24″ round

In 2021, I began tying together my long-time vision of helping communities and my love for spherical sculptures. Through a climate resilience grant project, I led four community-wide workshops where participants painted images depicting their love for their land. This experience solidified for me what my path is: to impact communities positively through my art form.

“24-Inch String Sphere” cement, yarn, 24″ round

To further my mission, I take commissions for hand painted images on spheres. When placed in the public eye, these spheres add beauty to the area. They call passersby to stop and draw closer to soak in their unique beauty. They leave them feeling good and with new conversation pieces.

Artist Jessica Mungekar with one of her sculptures

Moving forward, I hope to continue seeking opportunities that will allow me to work with communities through workshops, projects, and/or commissions.

Jessica Mungekar invites you to follow on Instagram, Facebook, YouTube and LinkedIn.

Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!

“All of my ideas [for social posts[ will come from everything I can find about the artist online.”

“AI is a great tool to get started, and if you're doing your own social media and you don't want to hire somebody on, I would so recommend this for just at least coming up with some template ideas, or to brainstorm or get ideas. But again, you have to edit it. You really want to put this in your own voice.”

“If you haven't used chat GPT, I definitely do recommend it as a starting point for posts.”

“I actually don't have any commitments with my artists, so people are able to stay on or cancel at their own discretion, but I have found that most people tend to stay with me.”

“If I wasn't organized, my life would be crazy.”

“The most difficult artists to work with are the ones that just don't give me any information.”

“Giveaways and freebies: People just go crazy for free stuff, and so it's just a really great way, if you have a cold audience, to attract them.”

Tucked away between Joshua Tree National Park and the Cleghorn Lakes Wilderness area, the Glass Outhouse Art Gallery (GOA) stands as a beacon of creativity and eccentricity in the heart of the desert. A haven for art collectors seeking unique and off-the-grid collecting experiences. GOA Gallery offers an immersive experience unlike any other. Visitors are immediately greeted by a diverse array of indoor and outdoor installations that defy convention, after entering this artistic oasis. The highlights are the infamous glass outhouse and one of the smallest wedding chapels.  Both set the tone for the gallery’s offbeat charm.

WHAT IS THIS PLACE? 

The Glass Outhouse Art Gallery is a nonprofit organization created by Laurel Siedl. The gallery opened its doors in September 2009. Laurel refurbished a building where she raised rabbits into an art gallery. The place is now transformed into spaces that feature artists from all over the country. Laurel’s passion for art is palpable in every corner of this unconventional space. Meeting her is akin to stepping into the mind behind the madness, an experience that leaves a lasting impression on all who visit.

The Glass Outhouse Art Gallery stands out not only for its unique setting in the desert but also for its commitment to showcasing emerging artists and promoting the culture of art collecting. Collecting art has long been a passion for many individuals, ranging from seasoned collectors seeking to expand their portfolios to novices eager to start their art collections. The gallery provides a welcoming environment for both seasoned collectors and new enthusiasts, offering a diverse selection of artworks that cater to varying tastes and preferences. Art collecting is not just about acquiring pieces; it is a deeply personal and enriching experience that allows individuals to connect with the stories behind each artwork, the emotions they evoke, and the artists who created them. The Glass Outhouse Art Gallery recognizes the significance of this connection and aims to foster a sense of community among art collectors, artists, and visitors alike. It is located at 77575 Highway 62 Twentynine Palms, CA 92277.

THE GALLERY/TRAILERS

The gallery itself is a mix of trailers and structures housing two galleries and eight rooms brimming with collections of artwork. From sculptures and assemblages that seem to emerge from the earth to original oil paintings and crafted works, GOA showcases a medley of artistic expressions that push boundaries and spark intrigue. If you are visiting the desert during the hot months, this is a good place to enjoy the indoor, air-conditioned trailer galleries. If you are unsure if you have arrived, look out for glimpses of the tall Pepsi Can from the highway before you turn off the main road.

The artwork is both whimsical and professional and is on full display in each gallery. The eclectic energy of the gallery creates a vibrant atmosphere where creativity thrives and boundaries blur. When I visited GOA I was lucky enough to view the work of Suzanne Ross.  Her pieces beckon viewers with their symbolic allure. Like a moth drawn to the flame, you will also be drawn into each room of the GOA gallery while you meander the rock-enclosed trails around each structure. In addition to the visual feast of artworks, visitors to GOA can also enjoy live performances by local bands on some occasions, adding a dynamic layer of entertainment to their artistic exploration.

BEYOND THE WALLS OF THE GALLERY

The surrounding 29 Palms desert landscape provides a serene backdrop for contemplation and inspiration. The vast expanse of the desert, with its rugged terrain and stark beauty, has long been a source of fascination for artists seeking to capture its essence in their works. The Glass Outhouse Art Gallery serves as a bridge between the natural landscape and the world of art, merging the two in a harmonious union that enriches the creative experience for artists and visitors alike. As visitors explore the gallery and immerse themselves in the diverse artworks on display, they are invited to embark on a journey of discovery and appreciation for the beauty and complexity of the artistic world.

TheDANCE_boulders, mountains, and trails

UPCOMING EXHIBIT AT GOA

Looking ahead, Sherri Scott Studios will exhibit at GOA with TheDANCE collection in March, offering a glimpse into the artist’s unique vision. TheDANCE_boulders, mountains, and trails is a vibrant piece that captures the essence of the desert landscape in a symphony of colors and shapes. Each element in the painting, from the resolute boulders to the majestic mountains and meandering trails, invites viewers on a visual journey filled with vitality, grandeur, and rhythm. The artwork celebrates life’s diverse dances and serves as a testament to the enchanting spirit of GOA Gallery.

TheDANCE at MoonLight (left) and The DANCE Mambo (right)

For art collectors seeking to venture off the beaten path and discover a world where creativity knows no bounds, Glass Outhouse Art Gallery is a destination like no other. Immerse yourself in the magic of GOA and experience the thrill of uncovering hidden treasures in the desert’s artistic wonderland. Look up, look down, and wherever you step, you may see some artwork. Take some photos and share your crazy finds! The desert landscape and community never disappoint when you are looking for adventures!

NOW THAT YOU ARE OUT IN 29 PALMS, PUT THESE STOPS ON YOUR LIST

Lunch: Founded in 2015 by chef Everton Gordon, Kitchen in the Desert is a Caribbean and New American restaurant and bar in Twentynine Palms, CA. Locally owned and run, KITD serves up the best family-style dishes in a tropical desert oasis setting. Combining organic ingredients with heritage spice recipes, KITD has become the premier spot for elevated dining in 29 Palms.

Visit the Historic 29 Palms Gallery: This gallery opened in 1963 in a historic adobe built in 1936 by the Stubbs brothers for western author Tom J. Hopkins. Twentynine Palms Artists’ Guild is an all-volunteer, 501(c)(3) non-profit organization that owns and operates the 29 Palms Art Gallery. Don’t forget to visit the gift shop as well for unique artistic finds! If you are traveling, there are easy-to-carry prints available to purchase in the Gallery and Gift Shop as well.

For more outdoor installations, visit Desert X locations: Desert X is produced by The Desert Biennial, a not-for-profit 501(c)(3) charitable organization founded in California, conceived to produce recurring international contemporary art exhibitions that activate desert locations through site-specific installations. Its purpose is to present public exhibitions of art that respond meaningfully to the conditions of desert locations, the environment, and indigenous communities; promoting cultural exchange and education programs that foster dialogue and understanding among cultures and communities about shared artistic, historical, and societal issues; and provide an accessible platform for artists from around the world to address ecological, cultural, spiritual, and other existential themes.

End your day with drinks and music poolside at the famous 29 Palms Inn: The Inn is a popular destination for creatives, writers, artists, and amateur/professional photographers, so bring your camera.  I also recommend staying at this unique property in one of their casitas or at one of their retreat events. Make sure you also visit the boathouse on the pond.

Enjoy Sherri Scott Studios: After immersing herself in the action sports design world for several years, Sherri Scott is now embarking on an exciting artistic adventure.  Driven by a deep passion for the arts, she enjoys experimenting with traditional and contemporary media in her paintings.  Inspired by her exploration of the outdoors, she finds inspiration in the picturesque landscapes and the captivating elements of land and sea.  A versatile artist and designer, with a strong background in designing for brands including her successful apparel line, she brings a unique perspective to her designs.  Her technical design skills and creative vision blend seamlessly to create her work.  Today her deep appreciation shines through in her artwork, she continues to push boundaries and explore new artistic horizons.

__________________________________

About the author:

Sherri Smith spends time painting between two cities: Solana Beach www.sherriscottstudios.com and Yucca Valley www.yuccavalleylandings.com in her studio in a hangar at the Yucca Valley Airport. The influence of these locations inspires her artwork in land + sea + desert + horizons. Exhibitions: Joshua Tree National Park Association, 29 Palms Gallery, Laguna Art Gallery, Santa Barbara CAW, Las Lagunas, Off The Track and OMA [Oceanside Museum of Art]. 

Upcoming project in 2024: Yucca Valley public art project and exhibitions at the new Hi-Desert Artist gallery. Please visit her websites to view artwork at www.sherriscottstudios.com and www.yuccavalleylandings.com. Social: @sherriscottstudios, @yuccavalleylandings

Learn More: https://www.facebook.com/pages/The-Glass-Outhouse-Art-Gallery/317055216531, https://29palmsinn.com/about/, https://www.kitd29.com/, https://desertx.org/about/about, and https://visit29.org/

All images courtesy of Sherri Smith.

Artist Mitchell Gibson shares a compelling story and a selection of works from his surreal portfolio. Find more by visiting his website.

I was born in a small tobacco farming community. My parents did not get along well and they fought quite often. One night my father came home and found a man in bed with my mother.

“Diamonds” oil on metal emboss, 25″ x 18″

Unfortunately, my father was a violent man who was very fond of guns. He shot the man several times. The man bled while hiding behind several of us kids before the police came and took him. My mother took the children and we moved in with her parents. My father wouldn’t let us take our things and we wore bloody clothes for a week until my grandparents bought new clothes. That trauma defined the early years of my life.

“Dark Mask” oil on metal emboss, 36″ x 30″

I discovered that I could escape from the chaos through drawing. At first it was just an escape, but I quickly discovered that drawing made me feel better. The pictures and images that I produced helped me draw down energy from heaven. To my child’s mind, it helped me make sense of the world. Art gave me a sense of peace and control.

“Woman 52″ oil on metal emboss, 40″ x 40”

I graduated college and got a scholarship to medical school. I began to meditate during med school. While I meditated, I began to experience visions. I didn’t understand them at first, but I began to draw what I saw. I had reams of images that I kept to myself.

“Dream150″ oil on metal emboss, 40″ x 40”

When I completed med school, I began a psychiatry internship. I began meditating for longer periods of time. It helped with the stress of learning to treat serious mental and physical illness. My art began to evolve, often taking on a life of its own.

“Woman 6″ oil on metal emboss, 40″ x 40”

I often painted for hours, neglecting even to eat or sleep. I began to study the great artists and was particularly drawn to the surrealists, cubists, and abstract expressionist styles. Although I loved using acrylics, oils, and pastels, I didn’t show anyone my work. I didn’t think that it was very good.

“Vision of God” oil on metal emboss, 40″ x 40

One day I went to a local gallery and talked with the gallery owner. I told him I was an artist, and he insisted that I show him my work. I showed him a few pieces and he loved them. He gave me my first public showing. His kindness gave me courage. Several other gallery owners saw my work and gave me shows.

“Planets” oil on metal emboss, 36″ x 30″

When I finished my residency, I moved to Arizona and opened a medical practice. I placed several of my works in my office. One of my clients was an art agent. She encouraged me to sell my art. She took some pieces to an exhibition at The Museum of Fine Art in Paris. I won the Jury Prize for Creativity.

The artist Mitchell Gibson

My art still revolves around visions and dreams. There are exhibition halls in my visions that I continually draw inspiration from. Art provides me a place of peace and solace. I believe that my work helps me draw down beauty and peace from the heavens.

Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!

When you're ready, share the job description with everyone you know locally.

After that, post it to social media (don't forget LinkedIn!). If you are looking for a studio assistant, artist forums might be the best place to focus your efforts.

Don't sit back and wait for applications to roll in. You have to keep talking to people. The more people there are who know about your search, the more likely you are to find the perfect person.

I've never had to do more than this to get excellent candidates, but I imagine LinkedIn might be a great place to find qualified administrative assistants. Artist forums could be useful if you're seeking studio assistants.

You are an artist, right? But do you have an audience? A cadre of fans eagerly awaiting your latest work? I became an automotive artist in 2009 — and I came to my conclusions on the subject after some trial and error plus some good successes. My initial ideas were based on my prior experience working in publicity for a university and for various automakers on special projects. Here are my rules that you can use to build your brand and recognition in the art world.

RULE #1 DEVELOP A CONSISTENT STYLE

Some buyers of your work may relish your line drawing skills, your choice of colors, or your composition. Once you receive plaudits for your work, choose one direction and move in that direction and make it your style. My style by the way is to paint a detailed background and sometimes blur it out so nothing in the background distracts from the main subject.

RULE #2 AIM FOR A NICHE

When I started my art career, I did some portraits of famous people like race driver Carroll Shelby, then segued to the cars he built. I also tried a nature scene — a dock at Malibu Beach — but decided there were too many artists painting beach portraits. And then I realized there were only a few making car portraits. The whole idea here is to pick a niche, paint a few, then go to an event and see if you can sell your prints.

RULE #3 ADOPT A LOOK FOR YOURSELF  

Almost a separate subject but this can also be important to establishing your brand. I once ran into an author doing a book signing at a bookstore in Hollywood. He was a young man in his 30s and looked splendid in a white suit with a white bowler hat. It was Thomas Wolfe and he wore white suits for decades and fans came to expect it as his look — “the man in white.”

A similar white suit has become my standard attire when I go to car events. I am not quite as famous as Wolfe but it has created an image.  When I go to car events I am often eagerly welcomed because with such sartorial elegance they assume “whoever he is, he must be important.” I considered the cowboy look but “the man in white” image fits with the classic cars I portray at classic car events like the Concours d’Elegance at Pebble Beach.

Image courtesy of Wallace Wyss

WHAT’S NEXT?

Once you have a niche, work that niche for all It’s worth. If I were pursuing equine art, I would donate prints to libraries on the horse scene, and look for which organizations need art. I would write articles for their newspapers, magazines, and websites, offering my art as illustrations.

Don’t worry about the niche imprisoning you. You can always diversify with other niches, creating collections. Perhaps it’s sailboats — find a local yacht club who will let you roam their venue, donate some prints to their next banquet or event and soon you’ll be sailing.

Automotive art has been my focus ever since I calculated the profit. When I found clients who didn’t blink at the price for a 20” x 30” canvas print (which was very cost effective for me), I decided I was comfortable. Of course, there are lots of potential collectors in other high end lifestyle genres to pursue. Who knows, you might find me one day painting horses for thoroughbred racing enthusiasts.

Once you’ve chosen your niche, look for websites and magazines devoted to that niche. If I were just beginning, I would try multiple directions initially — a trout fisherman one time and a horse racing the next. See what gets the most attention and sales and build your collector and fan base in that direction. Know also that people that love your work will be excited to see an occasional foray into other subjects.

In summary, look for environments you enjoy. Are there events that bring people together? Do those events look welcoming for an artist who wants to depict them? Check it out, then go for it!

______________________________

About the author:

Wallace Wyss is letting it be known that he’s open to submit work on consignment to galleries for those interested in an adventure into automotive art. He can be reached at malibucarart@gmail.com

All images courtesy of artist Wallace Wyss.

Artist Jennifer Bass presents a portfolio of botanical paintings drawn from her experience as an herbalist. See more by visiting her website.

I grew up in the studio of my mother. She was a painter who would put me on her knees and let me paint the grass on her large intricate landscapes. Many of my ancestors were artists, and I carry on their need to center life around creative practice.

“Panax Quinquefolius” oil on canvas, 12″ x 16″

My paintings are born from my lifestyle as an herbalist, a way of life that started in my childhood. I grew up on a large farm in Virginia, surrounded by a magnificent garden of roses, irises, fruit trees, vegetables, and ancient oaks.

“Spring Ephemerals” (triptych), oil on panel, 19″ x 15″

Often my paintings center on plants from my own garden or the forest nearby. These are plants I have relationships with as food, medicine, teachers, and friends.

“Witch Hazel” oil on panel, 16″ x 16″

I paint in my home studio, located within our botanical sanctuary on a steep mountainside in Western North Carolina. Studying plants directly by noticing their tiny details allows me to open myself to the plants’ whispers, to express gratitude for their medicine, and to know them in a different way than memorizing their uses.

“Peony” oil on panel, 10″ x 10″

This body of work is a fusion of passions, painting and crafting plant medicine. Decades of studying herbalism from local teachers, books, and more recently within the traditions of my ancestors, has led me to spend more time in direct communication with the plants.

“Pedicularis Candense” oil on panel, 13.5″ x 10.5″

The act of painting the plants I grow or live near is an act of care and reverence. The importance of having a relationship with the medicinal plants before even thinking of taking a harvest is central. I feel that in deepening my awareness of the textures, colors, patterns, and quality of edges within the plant world, my practice as an herbalist grows like a river becoming the wide-open ocean.

“Ligusticum Canadense” oil on canvas, 24″ x 18″

Instead of portraying the plant isolated on a blank page as is most common in botanical art, I prefer to surround them with their environment, honoring the interconnection in ecological relationships.

“Yew” oil on canvas, 16″ x 12″

The process of creating this body of work is an intimate conversation with invisible worlds, with places far past and forward in my own lineage. Working with plant medicine can open the deepest hidden mysteries with an ancient key.

Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!

Artist Frantisek Strouhal presents an ethereal collection of figurative and still life images, each infused with a touch of mystery. View more of his portfolio on his website.

Many years ago, while sitting in a warm and inviting café, enjoying a delightful cup of espresso, a profound realization dawned on me. Being an artist means committing to living consciously and using my intellect, affection, and creativity to have a positive influence on the world.

“A Tale Has Been Born” mixed media/oil printing/lithography inks, 20” x 24”

To accomplish this, I have discovered that the most effective approach was to invest my time and energy in the practice of keen observation, truly perceiving everything before me as if it were my first experience.

“Out of Hiding” mixed media/oil printing/lithography inks, 20” x 24″

In our fast-paced society, it is far too easy to rush through life, overlooking the beauty and significance of even the simplest things. By deliberately dedicating myself to the act of observation, I am able to fully engage in the present moment. I appreciate the intricate details, subtle nuances, and hidden meanings that often go unnoticed.

“Symphony for Unity” mixed media/oil printing/lithography inks, 20” x 24″

My creative process begins well in advance by carefully visualizing the images to bring my artistic vision to life. Once I’m in my studio, I meticulously arrange the lighting and music to match the mood I want to capture with live models.

“The Tree of Life” mixed media/oil printing/lithography inks, 20” x 24″

My artwork is a unique fusion of painting and photography, brought to life through the ancient and meticulous technique of oil printing on watercolor paper. This process not only demands immense skill and precision but also requires a great deal of patience and a profound sense of trust in the artistic process. In a world dominated by technology, I have chosen to embrace these antiquated methods as a means of conveying the language of the heart and soul.

“The Giver” mixed media/oil printing/lithography inks, 20” x 23”

Through my individual experience and expression, each image I create is carefully designed to evoke a myriad of thoughts, emotions, and moods, ultimately inspiring and unraveling the depths of our subconscious nature. By providing this sense of freedom, I encourage individuals to connect with and find personal meaning in my art.

“The Golden Pear” mixed media/oil printing/lithography inks, 20” x 24”

One cannot fully embrace the beauty of art without also embracing the unknown, for it is at the intersection of art and awareness that endless possibilities unfold. My aim is to capture the enchantment and transience of life through captivating visuals that gradually immerse the viewer in a mysterious realm.

“Love Prevails” mixed media/oil printing/lithography inks, 20” x 24″

By creating, I am actively contributing to a universal awakening, allowing people to experience profound joy, transcend the root causes of prejudice and fear, and discover inner peace. It is a true renaissance of artistry in the modern age.

Frantisek Strouhal invites you to follow on Facebook, X, Instagram and LinkedIn.

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Painter Michelle Delanty presents a soulful collection of pet portraits to melt your heart. Find more from this artist by visiting her website.

Painting pets for the last six years has led me to meet many amazing people and hear about the unique relationships pets have with their humans.

“Ishi” watercolor gouache, 8″ x 10″

Each pet relationship is unique, and no two pet relationships are the same. Through my paintings, I aim to honor all animals, their families, and the stories they tell.

“Gronkie” watercolor gouache, 8″ x 10″

Growing up with an art teacher as a father, I was encouraged to create at a young age. By studying drawing and painting in high school and majoring in Fine Arts at California State University Long Beach where I was given the opportunity to study abroad in Florence, Italy, I studied the characteristics of the face and the many expressions of the eyes.

“Lucy” watercolor gouache, 8″ x 10″

What intrigued me about the human face in figural paintings still captivates me when I’m painting animals. Each face is unique.

“Roland” watercolor gouache, 8″ x 8″

The moment I figured out how to use my art to impact other in a positive way was in February 2018 when a friend asked me to paint their canine pet. That was when I realized I could combine my love for animals with my passions for art.

“Hennessy” watercolor gouache, 9″ x 12″

I love capturing the soul or aura of each pet by carefully choosing colors that make each animal come to life.

“Sugar” watercolor gouache, 6″ x 6″

I’ve named my work Soulful Pet Portraits because I want to convey the inner essence of each animal I paint. To me, the most crucial aspect in my watercolor paintings is capturing the language our pets speak through their eyes.

“Odin” watercolor gouache, 9″ x 12″

I believe our pets communicate a message about unconditional love and that’s what I aim to portray in my art.

Michelle Delanty invites you to follow on Instagram and Facebook.

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Though everyone’s original artwork is automatically protected by copyright once it’s completed (paint on to canvas, ink to paper, etc.), I routinely register my art with the United States Copyright Office (USCO) before displaying, selling, licensing, or sharing it with friends and my social media network.

Here’s how I marked my posted art:

Registered Copyright © [year of first publication] + my name + web URL or social media handle + specifications of the artwork with title, medium, dimensions, etc. + my issued copyright Certificate of Registration number + other information (if any) + [Licensed artwork].

Julie Drew wrote, “I embed my name in my image in a watermark before posting online.” This is a great idea! You could even create a stylized watermark to match the artwork.

If a party has my authorization to display my art, I require them to label it as “Licensed artwork,” rather than “Used with permission.” Using legal terms like “licensing,” presents artwork in a more professional manner.

How do you prove that you created your art piece? You simply register it with the USCO! If you register your artwork’s copyright before publication or within five-years of first-publication, you’re granted “presumptive proof” that your copyright and the facts stated in the copyright registration application are all valid. See page 7 of http://www.copyright.gov/circs/circ01.pdf (17 U.S. Code § 410(c)). Using the Poor Man’s Copyright (mailing a print copy of your art in a SASE) is not a substitute for registration and has no legal effect in US copyright law. See https://www.copyright.gov/help/faq/faq-general.html#poorman