Creating a marketable body of work (part 2)

Notes on a talk by fine artists and art coaches Meagan and Michael Blessing, interviewed by art director Grant Roberts, 15.01. 2022 on the Art Work House Discord

Their socials:


These notes are filtered through my perspective and interpretation, what I personally took away as a listener. I do not claim to cover the complete talk. Also, my views are not necessarily the views of the speakers.

(continuation of part 1)

Square Two

Later, you start curating your work yourself, picking and choosing what you want to show to the world.

Don’t cut and engineer too much too early.

At first your only goal of curation is to choose the pieces that have the strongest aesthetic value to you. Also don’t just put them out there. Ask yourself: why do you like them, why do others like them? What can you learn for future pieces?

Keep creating!

Square Three

When your body of work has flourished further, you can afford a stricter curation: Now you are looking for consistency in themes and techniques in the works you want to show to the world.

The ultimate goal of all curation is that someone understands what you are doing within 3 seconds of looking at your works. This does NOT mean to dumb your works down or fit a pre-existing mold perfectly.

You are also allowed, even required to keep experimenting with art that doesn’t fit what you’re curating. Any of your training is research and development work for your main works though.

But this stage is not where and how the curation ends.

(to be continued in part 3)