Author Archives: Tom Wilmott

The Other Art Fair

24811210-4B47-4CB2-9970-A92F4F24B40DI’m very happy to be exhibiting at The Other Art Fair, London, from 4 – 7 October. I will be showing all new work, including the painting below,  and will be on my stand throughout the event. Tickets can be booked here and If you would like free entry please do drop me an email.

Ladders of life we scale merrily, move mysteriously around. VI 2018 Oil, enamel paint & varnish on canvas 61 x 41cm

Ladders of life we scale merrily, move mysteriously around. VI
2018
Oil, enamel paint & varnish on canvas
61 x 41cm

Ladders of life we scale merrily, move mysteriously around.

68E05B43-5F7C-4E14-8EE5-CEBE38B3E671Dear all,

I’m very excited to announce my new solo show, Ladders of life we scale merrily, move mysteriously around at the prestigious Hospital Club in Covent Garden, London, which runs from September 17th – October 20th.

I will be showing a collection of recent paintings that includes the largest work I have made to date as well as many that will be exhibited for the first time. The Private View is on the evening of Thursday, September 20th and is strictly invitation only, so please be sure to click here and book your place/s on the guest list (complimentary of course!). You’re more than welcome to bring friends, but be sure to book tickets for them too. If you have any problems with booking please don’t hesitate to drop me a message.

I was also invterviewed about the show by the club, so if you’d like a little insight about my practice you can read it here.

Energy

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I am delighted to announce  that I will be exhibiting alongside sculptor Vivienne Haig in a show entitled Energy at the wonderful Zembla Gallery in Hawick, Scotland next month. Zembla, owned and run by Brian and Leslie Robertson, is a space for contemporary art housed within Little Lindisfarne – a splendid eco friendly, modernist home designed and built by Brian and Leslie. It’s a real triumph and you can read more about it in Grand Designs magazine here.

I encountered Zembla on Instagram towards the end of 2016 (@zemblagallery – give them a follow) and we have been in casual conversation since. I have been deeply impressed with their open, friendly and inclusive approach and sophisticated aesthetic so I was thrilled and flattered when I received the invitation to exhibit with Vivienne at the end of last year. I have made a series of 17 new paintings specifically for Energy, of which one is illustrated below. A full pdf catalogue will be available in due course.

I do hope you’ll be able to come along. The private view is on Saturday, August 4th, 1-4pm and I will be there of course. All details can be found on the pdf invitation (view it here), however if you’re unable to make it I urge you to plan a visit to Hawick at some pointi somon, for if Zembla represents the shape of tomorrow’s contemporary gallery, then the future of exhibiting new art is bright indeed.

The Humming Wires. XVI 2018 Oil & tempera on board 25.1 x 22.0cm

The Humming Wires. XVI
2018
Oil & tempera on board
25.1 x 22.0cm

The Price Is Right(ish)

Back in early March, in the lead up to The Other Art Fair, I mentioned that my prices were to increase and that in due course I would offer a more in depth explanation. Admittedly I had intended to do so rather sooner than this, but for one reason or another it’s taken me until now to get something down on paper (screen).

The changes I have implemented have been to increase the prices of my unique works (I.e. one off paintings that are not part of an edition) from 5 pence to 20 pence per square centimetre. Paintings made in limited editions will remain at the original rate. In addition, I have made a minor adjustment to the wording of the system for the purposes of clarity, so the sterling price of a painting is now calculated as follows:

(height in cm X width in cm) x 0.2 = Sterling price

Prices are rounded to the nearest £10

The minimum price for any individual painting is £100.

It has taken significant thought to reach this point and the adjustment has been made taking various factors into consideration. As I have explained previously, my pricing structure is an important part of my approach to putting my work out into the world. It is critical to me that, as long as I am deciding my prices, I retain the defining factors of accessibility and the transparency. Although a fourfold increase is certainly not insignificant, I am committed to keeping my limited edition paintings as accessible as they have been. Furthermore, I am still using a clear and openly shared formula to price my work to ensure there is no uncertainty and no threat of ‘predatory pricing’.

A number of reasons have lead me to raise my prices. Thankfully the vast majority are positive, but I will admit there have been one or two influences which I find myself tolerating rather than embracing. Let’s start with the good things though. As I mentioned back in March, over the twelve months leading up to that point interest in and exposure of my work had increased significantly, and I’m very happy to report that this trend has continued since. I’m looking forward to being involved in various exhibitions in the coming months and am thrilled to have recently joined the stable of Atlantic Contemporary, an exciting new curatorial team and art dealer in the North of England. Of course I will be advising you on the various projects and shows with greater specificity as and when they occur, but for now I can say that I am very happy and flattered by the interest that’s coming my way.

Again, as I mentioned before the advice I have received from artists, collectors, gallerists and others in the industry has been unanimous in suggesting my work is worth more than I have been charging for it. Again, this is very encouraging to hear and although it has taken time I have come round to the idea that such a consensus of opinion does carry weight. And this has gone to help me look at my work in a slightly different way – with an increased confidence and assurance that the time, experience, skill and thought that goes into it justifies asking a bit more money for the paintings I make. I can’t say I feel entirely comfortable doing so, but I do at least feel more justified.

So, there is a good deal of positivity behind my price adjustment, but as I mentioned other, less palatable factors have come to light which, reluctantly, I feel I have to take into account. Vague and arbitrary as the vast majority of art pricing is, nevertheless it is true that, lacking a better or more understandable value structure, many people use a price tag to assess the quality of an artwork. Most of the time that doesn’t make any sense, particularly in the case of the vast amount of work existing outside the tiny “dealers’ market” which, with its insider trading and artificial price hiking, offers a ridiculously unhelpful template for independent artists struggling to get a handle on what to ask for what they make. Still, it’s clear that although pricing my work the way I have been keeps it accessible, paradoxically it can also be a deterrent to potential clients. Seems crazy, but I have heard high level gallerists explain that whilst they couldn’t sell a work at one price, by doubling it, they shifted the piece instantly. There isn’t much to like about that, but it’s from the horse’s mouth. Similarly I have spoken to gallerists who explained that although they liked a certain artist’s work a great deal, the prices that the artist set themselves were too low for it to be worth taking them on. Now this seems a bit daft to me as any successful or experienced gallerist would surely be able to make suggestions to an artist and adjust prices of any work they chose to exhibit based on their superior knowledge of the market, their clients and their business, however, this again comes from a genuine conversation, and cannot be dismissed out of hand.

So, I hope that gives you a decent idea of where my decision to raise prices has come from. As I say, it’s not something I’m entirely at peace with, but in light of the evidence I think it makes sense. It’s hard to balance the influence of the market with the reservations I have about it, and my belief that price levels in general will drop, however, although my feelings are mixed, what I won’t do is apologise for charging a bit more for my paintings because I believe the change to be justifiable.

HEADCLEANER

I’m flattered to have been invited to show work in Headcleaner, a group exhibition at TOMA Project Space, Southend-on-Sea, curated by Ian Segrave. The show focuses on the “obsessive daily practice of painting” – which is certainly something I’m familiar with! The PV is Saturday June 23rd so please do come down and say hi! All details below. Drop me an email for more info.

Headcleaner Final2 insta

The Other Art Fair

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The Other Art Fair, London, will soon be upon us and I’m pleased to say I have a few complimentary tickets to distribute. If you would like to come and see my new work at the fair, which will include the largest painting I have made to date, then please do email me to request a ticket or feel free to use the code above.

Here’s a new painting that I’ll be taking to the fair to whet your appetite:

A metaphorical exchange of cards. 2018 Acrylic ink, Indian ink & emulsion on board 80.0 x 60.0cm

A metaphorical exchange of cards.
2018
Acrylic ink, Indian ink & emulsion on board
80.0 x 60.0cm

New paintings from MERGE

Below are my most recent works, which were exhibited alongside the work of Markus Davies in MERGE, an exhibition at Jeannie Avent Gallery, London.

Woohoo! What’s next? 2017 Ink & emulsion on board 80.0 x 60.0cm

Woohoo! What’s next?
2017
Ink & emulsion on board
80.0 x 60.0cm

We’re on your TV, and killing your fish. 2017 Ink & emulsion on board 80.0 x 60.0cm

We’re on your TV, and killing your fish.
2017
Ink & emulsion on board
80.0 x 60.0cm

Taking today what tomorrow never brings. 2017/18 Ink & emulsion on board 80.0 x 60.0cm

Taking today what tomorrow never brings.
2017/18
Ink & emulsion on board
80.0 x 60.0cm

As brittle as a wishbone. 2017/18 Ink, emulsion & tempera on board 80.0 x 60.0cm

As brittle as a wishbone.
2017/18
Ink, emulsion & tempera on board
80.0 x 60.0cm

I’m an insect who dreamt he was a man and loved it. XV 2017 Ink & emulsion on board 48.0 x 40.0cm

I’m an insect who dreamt he was a man and loved it. XV
2017
Ink & emulsion on board
48.0 x 40.0cm

Artcan

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I’m very happy to announce that I have recently joined the Artcan group.

“ArtCan is a charitable arts organisation that supports artists through profile raising activities and exhibitions, an open network of ‘likeminded’ peers, and practical support structures”. Read more about this great project at https://www.artcan.org.uk