“Spotlight Q&A” — David Irvine — Artist  

One of the many purposes of our “Spotlight” is to introduce you to some of Canada's talented artists and craftspeople.

We recently had the pleasure of interviewing, Artist, David Irvine. David's studio, The Gnarled Branch, is based out of Brampton, Ontario.

Whether it be his numerous paintings and prints, his painted glass ornaments, or painted wood furniture art, his original art and craftworks cater to a wide spectrum of tastes. David refuses to be categorized into one particular style and has remained honest to himself by painting what moves him. As a result his paintings range widely both in style and in theme. He has participated in many juried art shows and outdoor exhibits throughout Southern Ontario. His works are also exhibited at various art galleries and have found a home with many collectors throughout North America.

Every artist has their creative journey...every artist has their story. No high-mindedness here... David is down-to-earth and gives readers some excellent practical advice, too. Enjoy!

DS:

Tell me about your start as an artist... When did you know you wanted to become an artist? Did you have a passion for drawing or painting right from the beginning?

DI:

I always knew in the back of my mind, even as a young child that I'd end up being an artist. I loved creating, making things. I always looked forward to 'art class' in elementary school. I remember I'd do elaborate drawings of animals or monsters, and sometimes I'd even get paid a few coins here and there that I'd save up and buy delicious and rather unhealthy snacks at the cornerstore.

Many times while I attended Ancaster High School, I became frustrated with certain courses since they had no relation as to what I was going to do, but art class was always my first focus. I admit to always putting the most effort into the visual art courses more than any other.

I also admit that I was blessed to have very supportive parents. At the start, they were slightly concerned about my having chosen a career that may not always be lucrative, but they knew it was what I really wanted to do in life, so they were behind me completely, which I'll always be grateful.

DS:

When did you know you could, indeed, call you yourself an artist?

DI:

I never really considered myself to be 'an artist' until after getting paid for my first freelance magazine job soon after college. I had done some commissioned art work prior, but it was for friends or family... but to have been given a paying job from a complete stranger... then I was more comfortable in describing myself as 'an artist'.

After graduation from Sheridan College I co-owned a small commercial arts studio with my girlfriend at the time. I learned alot from the experience, but became increasingly frustrated by having to deal with sitting in front of a computer and staring at a monitor all day long. I preferred pencils, brushes and paints, not software and a mouse. I then decided to put commercial art on the back-burner and become a full-time fine artist.

Needless to say it was a daunting task. I had little choice though, as my mind was made up to have paintings in a real art gallery and perhaps have a solo exhibit. I worked long hours painting away... sketching ideas and trying to make ends meet. I was in a relationship but had no kids to worry about which allowed time to paint. My pocketbook was lean, so I had to become creative with getting raw materials. I'd find frames in the trash, second -hand stores... I would paint over top of existing paintings that I'd buy cheap at yard sales. I'd make my own paints. To make money I started painting murals for customers, I taught art lessons both at home and for the Brampton Parks and Recreation. It was a busy time but I was having fun and when you have fun, work isn't 'work'.

I had started to build-up a number of paintings at this point and enjoyed minimal success at some juried shows and outdoor art shows.

DS:

So that was your painting artwork, but I see on your website that you create other kinds of art too.

DI:

Yes, I was always searching for a different way to produce art.

By accident in 2004, I noticed a wooden table that was being discarded in the trash. I repaired it, refinished it, and it became a beautiful painted piece of functional art. The positive reaction to it from friends and family paved the way for me to expand from traditional art formats (i.e. canvas, paper, board, etc.) into making furniture art. I also tried my hand at painting glass ornaments. As a Christmas gift for my wife, I created an ornament featuring a pixie holding a lantern with moss and small stones glued to add depth to the design. Feeling quite taken by it for it's detail and uniqueness, along with the furniture that received so much positive feedback, she felt that we should start a business — she would help invest and do the 'books' and I would do the artwork.

DS:

So is that when The Gnarled Branch business was born?

DI:

Yes, From there the "Gnarled Branch" was born. Finally, I now have a multitude of media to which I can create upon... from a plain wall in a home to a tiny glass ornament, to canvas, to a discarded wooden table. I can now focus on what I do best — creating!

DS:

What are you trying to communicate to the public? Is there perhaps some hidden meaning or significance your style and diversity of art has to you?

DI:

There is major division amongst the kind of art that I make. First there is the vibrant, fun and energetic work. It grabs people's attention and makes them smile. Then there's the darker work. It's haunting, dark, and at times very macabre. There's no middle ground. I couldn't just start a painting of a nice landscape or a realistic piece depicting an ox pulling a cart. I get bored very quickly. I paint to grab your attention. I will rarely, if ever, paint an ox pulling a cart, or a super-realistic rendering of a goose or a vase... That to me is what a camera is for... I want to reach people on an emotional side. I want to make you laugh. I want to make you scared. I'll even paint to offend. An example of this is for a showing in a rather posh restaurant, I had painted an enormous fly... It looked filthy. I couldn't wait to hang it. People in suits and fine clothes sipping fine wine and nibbling crab cakes with a very large painting of a housefly hanging behind them. I think if someone walks by a painting without even a glimpse, or comments more on the frame the painting is in, — that piece has failed.

DS:

I'm guessing you lead a busy life... Are you full-time at your art?

DI:

I am finding, more and more, that my art will be completely full-time. Although for a number of years, I did whatever I could to make ends meet. I taught night school art courses to adults, children and people with special needs. I worked from time to time as a temp doing general labour. If there's anything that will motivate an artist to work harder in becoming successful, I humbly suggest working in a factory. The annoying task of stretching canvas or cleaning brushes and tools pale in comparison to working in a factory.

Five years ago, I became quite addicted to gardening and landscaping. I was even on the Brampton Garden Tour in 2005... that was quite a thrill. I decided to pursue gardening as a side business during the warmer months, mainly to make a few dollars but also to meet potential customers who might buy original art. Most of my gardening customers were affluent and were pleasantly surprised to find out I was a professional artist. Many of them are now friends who have come out to various art openings and showings. Not only was I able to enjoy working outside planting gardens, I met new people, sold art and got in shape to boot — worked out really well!

DS:

And how do you balance your art with "spending time with your family" and friends?

DI:

There's no doubt a challenge in spending time with family, and if it's important to you, like family is to me, making the time to be with family and friends is not all that difficult. It's good to get away from your work for awhile, and be with others. Then upon returning to the studio, you'll have a pair of fresh eyes and renewed energy.

DS:

You work out of your home? What sort of workspace or home studio arrangements have you made?

DI:

To keep the overhead very low, I designated a spare room in my house as 'the studio'. It's not large; the light isn't always ideal but it's worked out really well. I find my 'commute' to work (which is a few short strides down the hall, and a step-over a sleeping cat) much less stressful than sitting in traffic for hours shaking my fist. Even though I have a designated work room, I'll sketch ideas, stretch and prime canvas, or do dirty work like sanding and stripping of furniture outside in my wood shed/workshop. Besides the convenience, and tax benefits of working at home, I just find being at home more conducive to creative thinking than working in a strange and disjointed environment. Many people ask if I become distracted by working at home... TV, laundry, napping... It does happen on occassion but the fact that I can get up at 3 a.m. and work till 10 a.m.; I find it evens up... besides the bills still come regularly so self-discipline is developed early on!

DS:

What has been your inspiration for your art? Is that reflected in your approach to painting and your art style or subject matter?

DI:

Inspiration can literally come from anything. A form of music, colours when sunlight hits them, a movie, an experience, other art, a conversation, a magazine ad, a piece of fabric... Al these visuals, no matter how minute, can trigger an idea which then snowballs into a developing piece of art. I'll make sure to have a notepad near the bed... A visual will burn in my brain and I'll try to wake and sketch it or describe it in awkward scribblings. Then the ultimate question is asked, "Would I want to buy it and hang it in my home?" If the question after reflection is yes, it's all systems go.

DS:

Let's back up a bit... What challenges did you face in the beginning as a new artist? And how did you deal with them?

DI:

Money. Respect. Finding a way to sell. Innocent ignorance.

Money is required to make art. If you don't have money to buy supplies or afford gas to drive to a gallery or craft show, you are "up the creek"! Make sure you have a few extra dollars at hand to make sure you get off to a good and fair start.

First impressions in any business are crucial. If you cut yourself short (no business cards, sloppy portfolio, poor presentation) you are stacking the odds against yourself before you have even started. You can get work in the arts if you become creative. And being an artist, that should come natural. For example... I had received in the mail an adult night course magazine. I discovered that all that was offered in regards to art was a watercolour course for beginners. I then set up a meeting and came up with a number of unique and fresh courses that could be offered. Mixed media, acrylic, drawing in pen and ink... I even was so bold as to suggest an 'advanced' watercolour course for those people that had taken the beginners course time and time again because nothing else was offered. My plan worked. I was teaching 4 different courses. The money added up quickly. I also noticed there were no art courses offered to people with special needs, so I started one. To this day, I tutor a young man; it'll be now our 11th year.

DS:

When you look back, how has your art work changed since you first began?

DI:

My art is now not just applied to canvas or paper. I have so many mediums now in which to express myself that it's quite exciting. Whether it's a small and delicate glass ornament or a large and heavy wooden chest of drawers, I'll put my mark on it.

I'm more liberal with my materials. I have more money to buy paint and will layer a painting, and make it more rich with colour and texture than I normally would have in the past, simply because I didn't have a lot of paint. I discover new techniques, whether by accident or by research. I find there are limitless styles that can be achieved, and I'm no longer narrowed to 1 or 2, which then leads to a dilemna that artists will face — Style. I'm from the school of thought that if you can do good art in abstract, impressionistic or cubist styles, thats' great. Not all share that view. There are many that feel to be acknowledged as a professional artist, having 1 or 2 styles is preferred.

Isn't art about exploring, experimenting and searching? Don't be discouraged. Do what you feel works best... If you are comfortable in doing strictly watercolour images of flowers... Excellent! But if you want to try doing flowers in watercolour and chalk pastels, don't limit yourself by someone else's perspective...Go for it!

DS:

What do you currently enjoy most about being an artist?

DI:

I guess, firstly, it would be that I'm living my life on my terms. I may not have a lot of fancy things that others my age have, but overall I'm happy and content. As well, to see an idea that is merely that... something floating around in my head... to see it turn from a messy sketch to a final piece that is in someone's home, which they find a lot of pleasure in, well... that takes the cake. I know there's a lot of art in me and not to sound dramatic, but if I were to leave this world tomorrow, I am pleased I left my mark with my work.

DS:

How do you determine what your next art piece will be? Do you have a particular theme or purpose beforehand?

DI:

It all depends on mood. Depends too on what I think might sell. There are times I do work in themes, and if anything sells, then that's a bonus. But generally it depends on mood. If I'm in the mood to listen to punk rock music and getting 'raucous' in the studio, I'm not going to do whimsical and enchanting art. It'll be vibrant and wild paintings. The mood always dictates what will happen on any specific day. That is why I might have 2 paintings on the go. But... I rarely linger on a painting. If it takes more than a 3 to 5 days to finish, I'll never finish it. I'm a "stay up all day and all night and see it through" kind of painter. By the end of it, I've built up so much focus and energy that I'm literally exhausted and drained. A lot of emotion and energy goes into my work.

DS:

What, if anything, would you change about being a "creative person". If you had your "druthers" or regrets about anything in your artistic journey what would you like to have done differently and why?

DI:

I wouldn't change a thing about being a creative person. I truly believe there are more than enough followers being led around on the globe... The world really needs artists and people who don't mind looking, thinking, and being different than what is generally dictated. If I had to think of a regret, it would be that I felt intimidated by the big city art society. I now know, when you boil it all down, whether you have your art in a big city gallery or a small idyllic village shoppe, it's a space, with a light, and a wall and a nail... It's a place to show art. Simple as that.

DS:

What about "procrastination"? I hear a lot of artists voice this same problem they have... How do you work all this out? Is it a regular challenge or do you only have your moments?

DI:

Procrastination and I have an agreement. I'll put a project off now and again, but when all is said and done, on the due date or deadline that piece better make the grade. In some instances 'pressure makes diamonds'. I find if I have a tight deadline, I'll achieve better results than one that is more open-ended. Besides, bills always come on time and I have learned it's best to make money and have less stress when your financial house is in order.

DS:

What about the business and sales & marketing side of the equation? It's a broad question but how do you handle that part of having a successful art business? Many artists readily admit they don't spend enough time on this part of their career, how 'bout you?

DI:

I spend alot of my 'free time' marketing and thinking of unique ways to meet new customers. I truly think that working hard at gaining momentum business-wise, at the start, will help you coast to success down the road. I am not a natural-born salesman. However, I treat people exactly like how I prefer to be treated. This method has worked largely due to the fact of 'word of mouth' referrals, which is gold when it comes to marketing your business. I am not shy around people, and I like to infuse a relaxed sense of humour into the conversation...this works rather well.

DS:

So how did you get started selling your art work?

DI:

I started selling my work via local outdoor art shows. This then led to 'networking' with other artists which then led to gallery exposure. I was quite green behind the ears, and had to be brazen in character. I "pounded the pavement" with my portfolios and did a lot of cold-calling to find out info where I could get my art seen and hopefully bought! At that point I didn't own a computer, (which I now use regularly to meet with potential galleries, shops, and customers), so I had to rely on researching leads at the library and cold calling.

DS:

Is there a particular kind of art lover who buys your art? Who are you finding your art mostly appeals to? Do you pre-plan "how" you want to "reach" them?

DI:

I found that my art is a lot like eating potato chips, hard to have just one... I've been fortunate enough to have a number of people who collect my work. One in particular has over a dozen hanging in their home.

I'm not sure if it's a particular 'kind' of art lover. Since having met in person a lot of collectors and purchasers, they just like to buy original art. I think, generally speaking, they don't care if the piece doesn't 'match the sofa' or goes well with the carpet. They buy because they like and want to have what they see. They buy my art because it's a conversation piece... It's unique, and has character. My work appeals generally to younger people, or people who don't mind the eclectic.

Admittedly, I don't really pre-plan or come up with an art strategy — I paint what pleases me and it seems that others just share my same mentality of what makes art... good art. A good example of this is when I did a series of paintings I referred to as "Trash Art" or "Irreverant Art"... painting lively, vivid and fun works based on themes most would consider garbage. Apple cores, fish bones, etc... It was a huge and fun success.

Another example is an ongoing series of paintings I did, called "The B-Movies" fictional movie poster paintings... really weird and wacky stuff. "Tiki Deathorama", "Meatloaf Invasion", or "Invasion of the Giant Hotdogs"... B-movies I would pay to see if they were made.

I find joining online forums that deal with themes that I have painted panned out some success... people with common interests getting together in a casual environment (the internet), feel no pressure to see thumbnail images or click on links that showcase my work. To sum it up, people who buy my art, whether it's funny and vivid or dark and eerie, buy because it speaks to them in some way and not because it's safe and can be bought at any department store.

DS:

Any key advice you can give others on how you price your art?

DI:

I price my art basically in terms of hours spent but herein lies the question... "What is a fair price?" People will ask me as they look at a painted table "How long did it take you?" In terms of time... maybe 6 hours, maybe 10, maybe more. But sometimes I respond, "all my life" or "it took years"... Then I explain the following — From struggling in college and fine tuning the skill to the previous moment... All that time was used to be able to make a piece of art. Of course, that way of thinking could be applied to any skill or profession. I guess I find it hard to always equate [making art + time = price]. It's like asking an Olympic athlete how long it took him/her to learn to throw a discus... a lifetime. Obviously though, I can't put a price on a lifetime of learning, so I revert to the old hourly rate combined with the amount of materials it took, taxes, etc.

I will not, however, over-price any of my work. Why? I see art as a bit of a luxury. It can't feed you. You can't warm your house with it (unless if you burn it), and it won't pay your taxes... So if someone wants to spend their hard earned money on my creation, I will price it as low as I can, so that person can take it home and enjoy it, and I can pay off a bill or two. I'm not about fancy cars, jet-setting around the world or fine dining... I'm a simple man in many ways. I have a roof over my head, food on the table and maybe a beer or two in the fridge; I'm happy. I highly doubt I'll ever get to the lofty artist phase and charge huge prices on a piece just because I am known... Original art should never be just for the wealthy; it should be available to everyone. I would always like to make more money, but I'll work a little harder and make more art knowing that a lot of people have my stuff and not just a select few.

DS:

How do you decide which art or craft events to participate in or galleries to exhibit your works in?

DI:

I think participation in events is mainly dictated by money. These are the main variables that decide on whether I will participate or not —

How much does it cost to have a booth? Are there extra fees? Do I need to provide insurance coverage during the event? How much merchandise do I have to sell to just 'break-even'?

More often than not, personally speaking, craft events are a poor way to make a profit.

Obviously it depends on the venue, the crowd, the time of year, even the weather! I find craft shows are for browsers, items over $20 are hummed and hahhed over. If you have items $10 or less, you are more likely to have a good day. I treat craft shows as more of a 'networking platform', rather than 'a making-money platform'. I've found that a person who browsed my table, that may have been involved in friendly banter will contact me after a show or online. In regards to galleries that showcase my fine art – I like to meet with the curator and talk about the market that frequents the shows, fees, insurance... I like to get a feel for the place.

DS:

Do you have any thoughts or comments on what you may feel is lacking or missing with the traditional marketing means and art and craft sales venues?

DI:

I think a major flaw with a lot of craft show venues is that some vendors will sell retail. Meaning... they are selling a mass-produced product that they themselves have not created. This is when juried shows are more conducive to an actual artist. Jurors will go over a vendor's application (usually along with photos) and decide if the product was 'hand-made'. I can't compete if I'm selling an ornament I painted and it took over 2 hours to make, and have a price that covers time, materials, and taxes, with someone down the aisle selling an ornament that could be found on any website, any department store for less than half of what I'm charging. I find too, that generally speaking, people are a lot like sheep. If they see an item that they have seen many times before, it's in their neighbours house, and it's in all the magazines, they'll more than likely buy it over something that they may actually prefer, which is one-of-a-kind and nobody has. I like people who buy things because they like it and want it; whether anyone else does or not is not an issue.

In regards to art galleries there are two major problems.

1 — Many galleries come across as snooty, hob-knob – A lot of the general public feel awkward in a gallery since it's deemed highly sophisticated — That is why I prefer galleries where you can feel at ease in. I don't care how fancy a gallery curator presents him or herself. Essentially all it is, is a place to hang a painting or to view a piece and maybe consider buying it, or just enjoying it for art's sake.

2 — Overhead — It's no secret... Buying art from a gallery is expensive. To most it's assumed the artist is gouging and making a lot of money. Truth is, the artist is making not as much as one would think. Galleries usually charge 40% commission. Some up to 60%. You factor in materials, time, framing, and the artist is not making a lot. It's quite possible when you see a painting that is priced at $800, that the artist might make from that, $200 -$400. I encourage artists to do their own framing. It's not difficult and can save a bundle.

DS:

As some final words of wisdom, can you offer any creative advice to artists or craftspeople who are aspiring to sell their work?

DI:

My advice to novice artists is to find your own style.

Listen to yourself, and paint what pleases you.

Never give up.

You may have to jump through a few hoops you'd rather not like to, to survive, but always keep that passion for art alive.

Develop a tough skin. Putting one's art up for public display can be distressing, but listen to what people have to say... reflect on it and consider the source... then either take heed or ignore.

Stay the course and remain true to yourself.

Editorial Comment:

We'd like to thank David Irvine for telling us about his creative journey. He's shared some interesting experiences and great down-to-earth, practical advice, too. We're pleased to showcase some of his art and craft works on our website. We also encourage you to visit his website at www.gnarledbranch.com

EXIT to A&CNet Website