What is the secret to Intuitive Marketing?

Did you know there is such thing as intuitive marketing? Sometimes people get a bit funny when you talk about intuition, they think it is just a woman thing. However if  you speak to many entrepreneurs, you will discover that at the end of the day they rely quite heavily on their intuition. And whats more they will tell you that they rely on it to help them to make good decisions in their businesses. First they listen to advice from others and then follow their intuition on that advice.

Intuitive marketing, Intuition

I did a course recently on intuitive marketing and it can be applied to any business. In fact it can be applied to any area of your life really, well the intuition part. I believe that artists should be very good at this form of marketing, as many of us rely on our intuitive responses to the canvas as we paint. It is something that we get good at over time listening to that feeling, is this a good move or bad one?

So how can we apply it to the marketing process. Well it is all about decisions really. And those decisions rely on questions. The better the quality of your questions the better your intuitive decisions will be. How does this process work?

Let’s look at an example. You may have a choice of two galleries you want to submit your work to,  so the question to ask in this case would be…..

How successful will my art business be in 5 years time if, I sign up with Gallery A? Now, as you ask this question, you need to pay careful attention to how you feel. What you need to be aware of when you ask the question is, do you feel a heaviness around that question, or in your body, or does your mind feel cloudy or heavy when you think about that option? Or does it feel light, do you feel energized and eager to move forward with it? Then go through the same process for gallery B and compare your feelings related to the two galleries. Decide which feels lighter and follow the lightness.

And that’s it! I know it just sounds deceptively simple, however, don’t be fooled, this is a very powerful technique! 

Also don’t leave out the 5 years piece either.  This is an essential part of what helps us to tap into that intuitive stream, as it takes us out of focusing on short-term fears and problems or even goals, that may be leading us in the wrong direction.

The key to it is learning to feel which question feels heavier and which one feels lighter.  And the process can be done for anything at all, with a little tweaking of the question.

This Weeks Question: What marketing decision are you making this year that you could apply the intuitive marketing process to??

Look For Next Week’s PostWhat Is The Art of Buying Art?

 

The Opening,exhibition opening,kadira_jennings,ruby+samaadahi+gallery

The Opening

 

A Fantastic Exhibition Opening

Well the day finally arrived! So much work, and then the party! No wonder we artists need a party to celebrate the hanging of an exhibition. After weeks of isolation as we diligently paint away and push nosy people out the studio door – especially spouses and children. I call them the Time Vampires. Its amazing how many people want to come and chat while you’re trying to paint. If you’re feeling nice you might mumble a reply, grunt or nod your head at the appropriate places. However if the painting is misbehaving, you will probably yell at them to get-out and give you some space, and they will slink off with hurt feelings. Sigh!

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The Gallery

The show was opened by celebrated Newcastle Artist, John Morris who has many gongs to his name, including winner of the Gosford, Norville and Maitland Art Prizes.  He has also been a selected finalist in many other competitions. John spoke about … The processes and development of an artists vision.  He stated that the artist always puts a part of themselves out there on show  and that there is no way they can avoid doing so. Before he spoke, I introduced refugee worker Pari, to speak a little on the refugee situation here on the Central Coast and the work they do.

There was a great turn out. – Thank you all for coming and making it a great success. 

A special thanks go to Ava and Prue  who both bought art works…. and several people purchased prints and cards of the works.

I am thrilled with the way the exhibition looks.  The interesting thing is that once all the works are in place the exhibition seems to take on an energy of its own. It is not just a collection of single works, the theme pulls them together and a bit like a symphony orchestra it creates something greater than itself.

I would like to thank everyone who helped me make this event possible, Simone Dennis – the gallery owner, John Morris, Pari  and Chay my daughter for her help with doing all the fiddly things like putting strings on the backs of paintings and painting around the sides of all the works, Esther, Hannah and Prue for taking photos, my partner John for helping with transport and putting the triptych together and everyone who turned up to support me.  I really appreciate each and everyone of you – Thank you.

3 Keys To Success In The Studio When You Are Gearing Up For An Exhibition.
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My weekly plans for the last 8 weeks before the exhibition

 

  1. Well, of all the keys to success, number one would be planning. A good six months before hand if possible. And of course the very first item would be planning the theme of your show. The image above also shows lists of all the tasks that need to be done, broken down into groups of tasks.
  2. Then there’s having the work done at least three weeks ahead of hanging time if you are working in oils – even longer if you use really thick paint.
  3. Asking for help with things that others can do such as , putting the cords and tape on the back of the works, labelling them, writing inventories and so on.

 

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Exhibition preparations – get help

 

Of course there are many more elements involved in having a solo exhibition

Most people have no idea what goes into preparing a solo exhibition.  Basically it is a mini or bigger event that has may details that need to be attended to.

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Matting the prints – tools of the trade

 

Yesterday I began preparing prints for the exhibition.  They have to be matted and shrink wrapped.

 

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Exhibition preparations

 

This Weeks Question: Have you visited any exhibitions lately that stood out for you and what was it that caught your attention?

Look For Next Week’s PostMore preparation for the exhibition

A New Body Of Work

 

If you’ve been following the blog in the last couple of weeks you will know that I’ve been sharing with you some of the different series of works I have painted and how they came about. Today I would like to share with you the latest body of work which is centred around exploring current issues and challenges facing displaced persons and refugees.
This new body of work, examines the underlying problems facing them and their hopes for a better life.

Where can you see it? – it will be exhibited at the Ruby Samadhi gallery in Kincumber  When can you see it? – 1 December to 31 December 2016, more details to follow.

As with some previous bodies of work, this one did not emerge from my fascination with a particular subject or in this case even a conscious awareness around the topic.

I had recently come back from a trip to New Zealand and as I was about to begin a new series of work I thought I would try to loosen up my style somewhat. Although I enjoyed the previous series of works which were floral in nature, by the time I got to the end of that series my work had become quite tight and I wanted to remedy that.  I picked a palette of colours and started splashing paint around, endeavouring to work very intuitively and abstractly.  However as the work progressed I began to see figures emerging from within it.

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The first painting in the series

When the painting was nearly done I was wondering what title to give it when the word refugee popped into my head. At the time I couldn’t figure why, why refugee??? Although the figures in the middle of the painting do look very frightened and harrowed.
A short while later, I was talking to one of my students about the painting. We had previously been discussing how I would like to return to live in New Zealand as I currently live in Australia. At this point in time however, that is not an option for me. When I was telling her about the painting being called Refugee, she looked at me and looked at the painting and said ‘but you’re a refugee, aren’t you? ‘ I was quite astonished as I’d never thought of myself as such.
This got me to thinking further about refugees and displaced persons and so the birth of a new series began. I then quickly developed several paintings from this first one. These subsequent works related to the emotional challenges and hopes that a refugee or displaced person feels.  I feel like a displaced person rather than a refugee. The thing we share in common is being cut off from our homeland, although perhaps in different ways.  

After that I turned to my source material, the photos I had taken on my recent trip to New Zealand and it all began to come together. 

Next week I will share further highlights of this journey as we approach the count down to an exhibition of them.

 

This Weeks Question: What can we do individually to help alleviate the misery of refugees in our own country.

Look For Next Week’s Post: Why Go To An Art Fair – 3 Fantastic Reasons Why You Should

My Dark Night Of The Soul – How Did I Emerge From It?

My Dark night of the soul found its resolution through a rather unlikely event. For some time I had been looking at a photo that I found on Pinterest of dresses in a wardrobe. I was really drawn to this image although at the time I had no idea what lurked beneath its innocent surface. Anyway, I began painting the image as you can see in the photo below.

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Dancing In The Dark – beginnings

As I began to paint the bottom of the dress on the extreme right,  I was suddenly overcome with a huge grief. I was crying and crying and I suddenly realised that I was releasing the grief I had held onto all these years about giving up my dancing. 

It was as if there was a hidden self within me that knew I needed to somehow access this grief and release it. Thus I was drawn to the picture. The funny thing was that I actually came across the photograph almost a year before I ended up painting it. And for the whole year, it was calling to me to paint it but I kept finding excuses and reasons why I didn’t need to do it. But clearly, I did.

Many people don’t realise that works we produce are always a reflection of who we are in some way. It may be reflecting ourselves at the current point in time, or something from the past we need to let go of. As was the case in this painting. 

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The first Painting In The Series

What I found quite remarkable about this series of works was the way it operated on two levels. While there was the grief for abandoning my dancing, simultaneously the dresses being stuck in the dark closet seem to somehow echo my grief at not being seen and felt at deeper levels, by my partner. The dresses were beautiful and unappreciated and so was my work. The series continued to evolve as the dresses emerged from the closet and eventually ended up floating freely from a branch, in the wind.

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Final Painting In The Series

 

This Weeks Question: How does your creative work reflect your own life journey?

Look For Next Week’s PostComing Soon, A Sensational New Body Of Work. Where Can You See It?

New Horizons Triptych  Fully Revealed

Finally I can show you the New Horizons Triptych finished.  It was rather a marathon effort I have to say.  My previous post on the subject revealed the latter moments of the second panel. This week I am sharing my vlog of the third and final panel and a photo of the whole thing completed at the end.

You will see the journey of the refugee, from a troubled homeland to a new homeland in the third and final panel.  Some of the other paintings in this series deal with specific difficulties faced by the refugees such as we see in  The Boat People below.

New Horizons Triptych,The Boat People

The Boat People

One of the terrors faced by these refugees is capsizing and drowning amidst raging seas and flying flotsam – as depicted in this work. An amazing story of such bravery recently came to light in the Olympics when the story of Yusra  Mardini,

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Yusra Mardini

one of the Olympic athletes, was revealed.  She escaped war-torn Syria with her sister last year but after making it to Turkey they struck trouble when they set off for Greece. The sisters saved their own lives and 18 others, preventing their sinking boat from capsizing in the Aegean Sea. When the motor failed they leaped over the side and into the freezing waters, pushing the boat for three hours to safety. 

My work is a tribute the bravery of all those who flee their homes, looking for a safer, better life.

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New Horizons

This Weeks Question: What can you do to help refugees?

Look For Next Week’s PostMore handy tips for art collectors.

 

 

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