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Portsmouth NH exhibit opens tonight (Friday, Feb 1, 2013)

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Un-themed and Varied

The Winter show at the Gallery at 100 Market Street

Reception Feb 1 2013, 5-7 PM at 100 Market Street, Portsmouth NH

This season’s exhibit at 100 Market street will feature most of the completed paintings and drawings in my Tree of Life series on the first two floors.  Trees seem to be thematic.  The featured artist on the upper floors,  Cori Caputo, is also exhibiting a series of trees in sepia and a range of full color works.  It should be interesting to see the same subject and different viewpoints side by side.  In addition, my friend and fellow AAGNE artist Kate Higley will be exhibiting several works.  And the reception snacks are top notch!

Several of the drawings and paintings in my “Tree of life” series juxtapose complex organic branching tree structures with DNA and biochemical motifs.  This combination takes the “Tree of Life” symbol out of a purely spiritual or purely phylogenetic context.  The change in context  underscores the densely networked and interconnected properties of life on Earth and the importance of Ecological order in our modern understanding of the world.  The idea of an Ecology and of trees as symbols of Ecological order and harbingers of Ecological change and disarray is further explored in other works that do not explicitly refer to Biochemistry.  Taken together, these pieces tell a rich and compelling visual story.  I’m thrilled to have the opportunity to present such a full range of these pieces  in one location.   I believe that seeing them together will really give a voice to the series of work and will encourage a deeper and richer interaction with the ideas in each drawing and painting.

If you scroll down, there is more information on the Gallery at 100 Market Street, links to more information on my Tree of Life Series, and images of the works in the show (and purchasing information).

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Press and websites:

A write-up (preview) can be found at Seacoast online here,   at Foster’s Daily Democrat here,  and on Ethel Hill’s blog here.

The Gallery at 100 Market Street is an alternative space showcasing local and regional Contemporary art.   the art is displayed on the “gallery-style” walls of an upscale shopping and office complex.  The Gallery has rapidly become on of the areas premier showcases for Contemporary, Abstract and experimental art and offers 4 loosely themed exhibits per year.  Find out more on the Gallery’s Facebook page or on the website, here.

More posts on the works in the “Tree of Life” Series:

Exhibit “Glitz” at Annmarie Sculpture Park, Solomons, Maryland, Featuring Tree of Life 1

WIP Tree of Life 1

Tree of Life 1 finished

Tree of Life 2 WIP and finished

Tree of Life 3,4,5 WIP

Abstracted Oak and Birch Studies (drawings)

Evolutionary Tree (Drawing)

Tree of Life – for all the DNA obsessed People

Branches and Trees (ink drawings)

Tree of Life Number 6

Work images, descriptions, and purchasing information:

Contact the artist   For general inquiries or to arrange a purchase.  I will answer email inquiries within 48 hours.

rv “at” nerdlypainter “dot” com   or call at 781-643-1368 (expect an accented male voice on the machine)

Old Growth tree of life painting
Acrylic mixed media

Old Growth (Tree of Life #2), 48 x 48 inches on heavy duty stretchers (1.5 inch deep).   USD $3000.00, local pickup or arrange for a shipping quote.  Contact the artist  about purchasing.  The gallery at 100 Market Street arranges direct purchases  through the artist.

heredity tree of life 3 whole  Tree of Life sunlight image

Heredity (Tree of Life #3), 24 x 24 inches, 1.5 inches deep.    Mixed Media on canvas (acrylic, glass, sand).

USD $ 725.00      Contact the artist  about purchasing.      I will ship this piece free anywhere in the Continental US and Canada, and to most points in Europe.

The gallery at 100 Market Street arranges direct purchases  through the artist.

Tree of Life 4 midrez  Breathe in Sunlight

Breathe (Tree of Life #4), 30 x 30 inches, 1.5 inches deep.

mixed media on canvas (acrylic, glass)
USD  $1150.00

Contact the artist  about purchasing.      I will ship this piece free anywhere in the Continental US and Canada, and to most points in Europe.

The gallery at 100 Market Street arranges direct purchases  through the artist.

Wildfire Tree of Life 5 snapshot  Wildfire TofL5 sunlight

Wildfire (Tree of Life #5), 18 x 18 inches, 1.5 inch deep.  Acrylic media on canvas

USD $ 500.00

Contact the artist  about purchasing.      I will ship this piece free anywhere in the Continental US and Canada, and to most points in Europe.

The gallery at 100 Market Street arranges direct purchases  through the artist.

genome tol6   Tree of life 6 in dappled sunlight

Genome (Tree of Life #6), 36 x 36 inches, 1.5 inch deep.

Acrylic with glass. tile and sand on canvas.

USD $ 1650.00

Contact the artist  about purchasing.      I will ship this piece anywhere in the Continental US and Canada, and to most points in Europe. There may be a shipping fee for some distant points, but I will cover reasonable shipping costs.

The gallery at 100 Market Street arranges direct purchases  through the artist.

albedo tofl8  prometheus

Albedo, 24 x 24 inches                                                            Prometheus, 30 x 30 inches

Acrylic with mirrored lenses                                               Acrylic media on canvas

USD $ 675.00                                                                             USD $ 875.00

Contact the artist  about purchasing.      I will ship either of these pieces free anywhere in the Continental US and Canada, and to most points in Europe.

The gallery at 100 Market Street arranges direct purchases  through the artist.

rooted  In the air

Rooted, 12 x 12 inches, acrylic and twine                In the air, 9×9 inches, acrylic with glass and shellac

USD $ 250.00                                                                         USD $ 150.00

Contact the artist  about purchasing.      I will ship either of these pieces free anywhere in the Continental US and Canada, and to most points in Europe.

The gallery at 100 Market Street arranges direct purchases  through the artist.

whirlwoods midrez

Whirlwoods, 212 x 18 inches, 0.75 inch deep.  Acrylic on canvas

USD $ 450.00

Contact the artist  about purchasing.      I will ship this piece free anywhere in the Continental US and Canada, and to most points in Europe.

The gallery at 100 Market Street arranges direct purchases  through the artist.

silent witness   variation on a Cayley Tree  Evolutionary Tree

Ink on paper, framed size approx 9×12  (from left to right):

1.  Silent Witness,                                        USD   $ 300.00

2.  Variation on a Cayley Tree,             USD   $ 250.00

3.  Evolutionary Tree                               USD   $ 300.00

Contact the artist  about purchasing.      I will ship any of these pieces free anywhere in the Continental US and Canada, and to most points in Europe.

The gallery at 100 Market Street arranges direct purchases  through the artist.

oak study                                                         birch study

Oak Abstract, ink on paper,                                                               Birch Abstract, ink on paper

framed dimension approx 9×11                                                       framed dimension approx 9×11

USD  $ 175.00                                                                                         USD  $ 175.00

Contact the artist  about purchasing.      I will ship either of these pieces free anywhere in the Continental US and Canada, and to most points in Europe.

The gallery at 100 Market Street arranges direct purchases  through the artist.

In series, but not in exhibit:

Tree of Life 1  tree of life retroreflective

Tree of Life 1: Autotroph, currently exhibiting at Glitz at the Annmarie Sculpture Park and Art Center, Solomons Maryland (purchase through the Annmarie)

Keystone, oil on canvas  24 x 24 inches
Keystone, oil on canvas 24 x 24 inches

Keystone, at the Newburyport Art Association through February 3, 2013.

The concealed reveal

The Concealed Reveal, currently in my hot little hands.  Contact the artist  about purchasing.

 

12 Responses

  1. prewitt1970
    |

    I would love to ask you some questions about your art and marketing, could use some advice.

    • nerdlypainter
      |

      Sure – I’d be happy to help. I’m pretty new to this myself, but I’m happy to share what I’ve figured out so far (and I believe that artists should have these conversations). Here or through my email
      rv at nerdlypainter dot com

      • prewitt1970
        |

        Which ever you like. Ive noticed that you seem to have a number of gallery shows as well as some onlinr interview, magazines and such. Did you reach out or submit stuff to them or did they contact you. My work is selling well, granted I dont charge much, ppl say I should charge lots more. But this year my goal was to try to have a more global presence which it seems you have.
        Thans for returning my comment.
        Benjamin

        • nerdlypainter
          |

          In terms of a global or international presence, you have to figure out what sort of exhibits are a good fit and apply to them. Just start Googling around and get on some mailing lists so you get a heads up. The Massachusetts cultural council has a blog “Artsake”, which lists opportunities appropriate for Massachusetts artists, including National and international exhibits. Many states have something similar through either the Governor’s office or the state cultural council (or council for the arts). Find yours, and look at some other states as well – there’s nothing stopping you from subscribing to listings from another state if they do a good job and have a lot that are a good fit.

          Most of the advertised competitive exhibits you can apply to will nickel and dime you with fees. However there are subject niches and regional/local venues that can be quite good and that don’t charge application or other fees. I’ve been finding that the Science themed and Math themed art exhibits do a good job of promotion, offer nice awards, and don’t make money off of artists. To find local venues and opportunities network with like-minded artists – maybe a meetup group.

          If you see a spot that looks like a good place to display your work, just put together a sampling of work photos and go ask. It works. If you are thinking of exhibiting in a venue for the first time have a relationship with a venue and want more of a presence, ask politely around a month before they typically issue a prospectus, and explain what you want to show and why you think they’re venue is the right one.

          You can also introduce yourself and ask for interviews (make your case for why). I’ve gotten blogger attention by asking, and also by just building up a relationship where they have an artist on hand who gives straight answers to questions etc.

          Regarding pricing, customer price points form a pyramid. There are a lot of customers looking at the lower price points, but that number dwindles as you climb the pricing pyramid. If you want to raise your prices, you might want to test the waters with a few pieces that are larger or somehow a clear break from your current work. If there’s a clear delineation between the new expensive work and the older less expensive work, you should be able to work and justify both price points while you figure out whether you have enough attention from collectors in the next level of the pyramid.

          Again in terms of pricing, if you look around you’ll find advice that tells you that it’s bad to price too high or too low, with no numbers attached to “too high” or “too low”, so useless. And then most of the advice will go on to tell you you must never lower your prices (guess right the first time or die,artist, die!). This advice is followed by several overgeneralized stupid pricing models that will help you go out of business fast (also offering no numbers for comparison).

          My suggestion is to look at how much money you need to generate per month, look at how much work you generate per month and then develop a pricing model that makes the month’s work at least as valuable as the month’s expenses. I find that this approach also helps me keep to a studio schedule. If I want to lower prices to generate quicker sales I have to produce more work – that’s a good discipline.

          • prewitt1970
            |

            Thanks for your input, As far as showing locally Ive been doing that for years, but the whole magazine,reviews thing is pretty new to me and thanks tons for the info on local state stuff thats a great idea. Pricing ugh makes me crazy. Its funny because ppl say I should price higher but then nobody buys the expensive stuff. As far as produccing quality work thats not a problem all i do is paint, so I can produce a body of work rather quickly. Any how thanks again I really appercaite you taking the time to communicate with me.

  2. prewitt1970
    |

    I would love to ask you some questions about your art and marketing, could use some advice.

    • nerdlypainter
      |

      Sure – I’d be happy to help. I’m pretty new to this myself, but I’m happy to share what I’ve figured out so far (and I believe that artists should have these conversations). Here or through my email
      rv at nerdlypainter dot com

      • prewitt1970
        |

        Which ever you like. Ive noticed that you seem to have a number of gallery shows as well as some onlinr interview, magazines and such. Did you reach out or submit stuff to them or did they contact you. My work is selling well, granted I dont charge much, ppl say I should charge lots more. But this year my goal was to try to have a more global presence which it seems you have.
        Thans for returning my comment.
        Benjamin

        • nerdlypainter
          |

          In terms of a global or international presence, you have to figure out what sort of exhibits are a good fit and apply to them. Just start Googling around and get on some mailing lists so you get a heads up. The Massachusetts cultural council has a blog “Artsake”, which lists opportunities appropriate for Massachusetts artists, including National and international exhibits. Many states have something similar through either the Governor’s office or the state cultural council (or council for the arts). Find yours, and look at some other states as well – there’s nothing stopping you from subscribing to listings from another state if they do a good job and have a lot that are a good fit.

          Most of the advertised competitive exhibits you can apply to will nickel and dime you with fees. However there are subject niches and regional/local venues that can be quite good and that don’t charge application or other fees. I’ve been finding that the Science themed and Math themed art exhibits do a good job of promotion, offer nice awards, and don’t make money off of artists. To find local venues and opportunities network with like-minded artists – maybe a meetup group.

          If you see a spot that looks like a good place to display your work, just put together a sampling of work photos and go ask. It works. If you are thinking of exhibiting in a venue for the first time have a relationship with a venue and want more of a presence, ask politely around a month before they typically issue a prospectus, and explain what you want to show and why you think they’re venue is the right one.

          You can also introduce yourself and ask for interviews (make your case for why). I’ve gotten blogger attention by asking, and also by just building up a relationship where they have an artist on hand who gives straight answers to questions etc.

          Regarding pricing, customer price points form a pyramid. There are a lot of customers looking at the lower price points, but that number dwindles as you climb the pricing pyramid. If you want to raise your prices, you might want to test the waters with a few pieces that are larger or somehow a clear break from your current work. If there’s a clear delineation between the new expensive work and the older less expensive work, you should be able to work and justify both price points while you figure out whether you have enough attention from collectors in the next level of the pyramid.

          Again in terms of pricing, if you look around you’ll find advice that tells you that it’s bad to price too high or too low, with no numbers attached to “too high” or “too low”, so useless. And then most of the advice will go on to tell you you must never lower your prices (guess right the first time or die,artist, die!). This advice is followed by several overgeneralized stupid pricing models that will help you go out of business fast (also offering no numbers for comparison).

          My suggestion is to look at how much money you need to generate per month, look at how much work you generate per month and then develop a pricing model that makes the month’s work at least as valuable as the month’s expenses. I find that this approach also helps me keep to a studio schedule. If I want to lower prices to generate quicker sales I have to produce more work – that’s a good discipline.

          • prewitt1970
            |

            Thanks for your input, As far as showing locally Ive been doing that for years, but the whole magazine,reviews thing is pretty new to me and thanks tons for the info on local state stuff thats a great idea. Pricing ugh makes me crazy. Its funny because ppl say I should price higher but then nobody buys the expensive stuff. As far as produccing quality work thats not a problem all i do is paint, so I can produce a body of work rather quickly. Any how thanks again I really appercaite you taking the time to communicate with me.

  3. nerdlypainter
    |

    Reblogged this on Abstract Artist Group of New England (and Experimental) and commented:

    Hiya,
    Kate Higley and Regina Valluzzi (me) will both have work featured in the “Un-themed and Varied” exhibit at 100 Market Street in Portsmouth, running through the end of April. The reception is tonight – Friday, February 1, 2013, from 5-7 PM. Very good snacks if you can swing by.

  4. nerdlypainter
    |

    Reblogged this on Abstract Artist Group of New England (and Experimental) and commented:

    Hiya,
    Kate Higley and Regina Valluzzi (me) will both have work featured in the “Un-themed and Varied” exhibit at 100 Market Street in Portsmouth, running through the end of April. The reception is tonight – Friday, February 1, 2013, from 5-7 PM. Very good snacks if you can swing by.