Colored Rain (#!)

I feel that a gallery is bound to represent you, to take you on board if somehow they feel that your work can hold a distance, a space. If your work got some strength and stamina, and that magnetic quality, entice buyers. Series preferred. A specialization. A theme. I guess it helps building a multi-faceted relationship. A face for the gallery/artist bind, another for gallery/art-buyers bind through artists and the artist and his work/theme/subject. Could the latter lead one artist to be pidgeonholed or pidgeonhole himself to some kind of work? For assurance?
And what about just consistency in quality as a foundation ?
I want to pinpoint a strategy to get into gallery, so I'm pondering...Might be a good thing to go about asking gallery owners around what they look for. I'll try that and test their waters.

AllRightsReserved Copyright 2005-2009 Stephane Themeze Photographer

Colored Raindrops (#?)

I think some of us work like painters. They in time come up with a signature-style. And also work series. It serves, I think, two purposes: it gives strength and depth to a work in progress, a Body; and it affirms a style, a signature.The latter is important(I'm not convinced but...) and sought after by many.Let's also note that sometimes it comes out as a complete fraud( no real object or perhaps that we can make beautiful out of everything.What's new. Try to have good taste). But as painters can apply their signature to different subjects. Can it be done in photography? Could it be recognizable if applied to different subjects?
Portraiture and fashion are areas where you can definitely shape, fashion a signature. It is done.
Seems harder in other areas.I got names though in my head that brings elements supporting the fact that it can be done. But we can recognize a work and a photographer associated with it mostly when serial. I might have touched the nerve that gallery owners move by.
I'll push further on that later...


AllRightsReserved Copyright 2005-2009 Stephane Themeze Photographer