When it's too Good to be True

Last spring I was approached by a relatively well known interiors catalogue from the east coast to sell limited edition prints of my work. At the time, none of my current work was available to be sold as limited editions because I had a previously standing contract with a fine art publisher and/or the work had previously been released as open editions and was therefore disqualified. However, we agreed via email that I would work on a new collection over the summer that could be released in their fall catalogue. They needed at least 10 images before they could sign me, but they agreed that they would give me feedback over the summer and we could work on this together. They showed enough interest that I was comfortable in doing a new series with them in mind, because at the very least, I was certain that this type of work was popular with my collector base and could sell as originals. It was almost too good to be true! I began sending them a few of the images for feedback. They directed me to do more sea grasses, lighthouses, and simple florals. They were currently working with another artist that specialized in waves. I continued working on this new series over the summer. I sent them new pieces in early July with no response and again in late August with no response. Finally I directly requested a response. I assumed that the fall catalogue would be released soon and out of respect I at least deserved an answer, even if my work wasn't exactly what they were looking for. Finally I heard what I suspected was coming, that they had already released the fall catalogue and went with other artists. They had released the catalogue without respectfully telling me in advance that they chose other artists. They had admittedly overextended themselves.

I'm writing about this experience as a warning to other artists that we should never do work for a company without first having something contractual in writing. This situation had never happened to me before, and because I trust in other people's word, unfortunately I believe I was taken advantage of. I also believe that they solicited too many artists into this project and hopefully learned from their mistake. I'm also certain that the artist they signed who specialized in waves probably had a different experience. My message to the businesses out there is to respect us artists, and my message for us artists is not to be starry-eyed when being solicited by big name companies. The more of us who demand contracts prior to work commences, the better we are all off.

What are your thoughts? Has anyone else had a similar experience?

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Inspiration Here and There

It's funny how we are inspired by different things around the universe but somehow they are all similarly connected. Are any thoughts completely original? After viewing the Yayoi Kusama Infinity Mirrors exhibition at the Hirshhorn this past winter I was completely in awe of her use of polka dots. I wondered how I could maintain the textural complexities of my work while focusing on the beauty, simplicity, and infinite possibilities of the polka dot. It became clear to me that I could deconstruct my paintings to the most simplest form of texture with the same tubes in my supply drawer that I regularly use. I mixed up my palette in a similar fashion and slabbed the paint straight onto a previously gridded canvas in a simple pattern. I named this series my Polka Daubs paintings. I thought this manifestation of the polka dot was completely original in contemporary art while still respectfully paying homage to the great Kusama. I soon learned I was slightly wrong.

Below: Polka Daubs, oil on canvas, 14" x 11" by Ann Marie Coolick. In private collection.

First, someone pointed out the uncanny resemblance of my work to Damien Hirst's Spot paintings. I was amazed and dumbfounded by the similarities especially in the color palette. How could this be when I had never seen this series of his?! I'm very familiar with his sculptural work but somehow his Spot paintings had never been on my radar. Perhaps they were buried so deep in my subconscious after 15 years being out of art school or had I truly never seen them? Hirst's artist statement also rung a similar bell. He said: "To create that structure, to do those colours, and do nothing. I suddenly got what I wanted. It was just a way of pinning down the joy of colour.”

Below: Damien Hirst's Spot paintings

Second, another person pointed out the likeness of my work to John Grande's polka dot portraits. Again, I had never seen his work before. Now I'm really beginning to feel like I don't know as much about art as I thought I did!

Below: John Grande, Courtney Dot

Perhaps it is the universal language of the polka dot that has us all subliminally connected and inspired by this simple form? After all, aren't we all inspired by similar things yet manifesting our responses in a slightly different manner? I believe that the inspiration I found in Kusama's work and the expression of my response were completely pure and honest, and I hope that while we as artists can find inspiration in other's work, that we always pay respect to the root of our inspiration. If you are an artist, has anyone ever pointed out your work as closely related to another contemporary artist? Please share your thoughts.

"A polka-dot has the form of the sun, which is a symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm. Round, soft, colorful, senseless and unknowing. Polka-dots become movement... Polka dots are a way to infinity." Yayoi Kusama. Photo via Welker Media.

Below: Infinite Polka Daubs, oil on canvas, 36" x 36", Ann Marie Coolick.

Below: Confetti Polka Daubs, oil on canvas, 20" x 20", Ann Marie Coolick. In private collection.

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