Painter Michael McManus writes about his experiences undertaking his first private commissions. Michael was a LIFEBOAT residency awardee in 2012
During the Lifeboat residency commissions helped me support my practice. They also provided me with an interesting dilemma. Do I try to develop my work or stick making what would sell? How could I progress my painting and appeal to collectors who bought older pieces?
In my first year since graduation, I made commissions for both a gallery and a private collector. The approach was very different from both.
The gallery contacted me after seeing work at my degree show. The initial contact was via e mail. The outlined details about the commission and what had attracted them to my work.
They had a ‘commission’s team’ that advised clients of artists that may be suitable to their needs. From the proposed list the client would then select their preferred choice.
The gallery’s client was a company that wanted paintings related to the theme of their logo. I was one of eight artists commissioned. Each artists work would be displayed in the company’s meeting rooms.
Due to the nature of the commission it wasn’t possible to relate it to the core concerns of my practice. But the pay was good and there was a period of six months in which to complete the work. I could ensure it didn’t coincide with busy periods leading up to any exhibitions or studio visits.
There were other benefits that made the commission worthwhile. There were networking opportunities with the other commissioned artists. An special event meant I could meet people from the company, many of whom I kept in touch with and visited my studio.
In contrast, the private commission was for a previous buyer. They wanted me to create a piece of work that featured a similar aesthetic to a painting that had sold. In a studio visit we discussed what had been successful about the previous painting. We talked about how these features were present in more recent works. The conversation gave me a real insight to a buyer’s perspective when reflecting on my paintings.
It was important to the buyer that work had it’s own identity, and that there was a consistency in my ideas. They liked that the work was recognisable as mine. Presenting a series of certain images also worked well. With slightly different approaches to each one, the buyer could make direct comparisons.
With the discussion in mind I began drafting photoshop images. This way I could develop the work and be sure it felt right for both of us before committing brush to canvas.
I made a total of five images. We looked at each in great detail before making a final selection. I then began painting in the studio, documenting and sending photos as the work progressed. Finally there was another studio visit to collect the painting. We have continued to keep in contact since.
The dialogue with the buyer throughout the commission was particularly helpful. It ensured we were both happy and provided feedback on the development of my practice.
Its easy to underestimate the time needed to devote to commissioned work. Its also tempting to follow better paid opportunities. Ultimately, protecting space for commissions which allow for your practice to develop feels vital.
This work has a