I openly share my creations with you. I do so for anyone
that wishes to appreciate my artwork in their own home, but for whatever
reason, cannot purchase artwork at this time. When one feels a connection
with artwork, it is important to me that this connection is explored,
and cultivated. It is my sincere hope that you have my artwork if you
When I was a child, I kept every image of a horse that I ever came across.
Calendars were dismantled at the end of the year, and each picture helped
to create a wallpaper dedicated to my favorite animal. Occasionally, I
was given fantasy artwork, something that showed a world of magical unicorns
and of the mythical Pegasus. I remember purchasing folders for school
that had beautiful images of strong and proud white horses, and I can
remember the name that created those images... It was Sue Dawe. Because
I was able to have her artwork, and see it every day, I remember her images
strongly, and her name, without fail.
Through those images, I was able to create my own fantasy world. I was
able to take the ethereal spirit of the horse, and give it a form of my
own. I am so thankful for all of the gorgeous paintings of fantasy horses
that I have ever seen, and have ever had the pleasure to hang on my walls.
When I think of a child now, literate with the computer, and full of that
same passion for horses as I had, I hate to think of him or her finding
my artwork through the internet, but having no way to hold on to that
image. I hate to think of freezing that image from anyone for fear of
exploitation, or to think of anyone loving something they see, but leaving
without it. If someone cannot have that image to cherish, then their memory
of the image will fade with time, along with the imagination and art appreciation
it could have helped to create.
I value a free world. I know that there may be people out there that will
exploit my images because I freely exchange my images with them. I do
not condone this, but I do not fear this, either. I trust that the world
is inherently good, and inherently beautiful. I trust that people do what
is right when they can. I believe that if someone were to make a profit
selling my artwork illegally, then they are in a position in which they
need to do so. My only request of anyone, is to leave my name on my artwork.
This is for me, and for anyone that feels a connection with my art. Please
leave others a key.
Open Edition vs. Limited Edition
If you decide to purchase a reproduction from me, I'd like you to know
that all of my reproductions that I authorize will be signed and numbered
by me. Every painting will be reproduced in an open "numbered edition",
but because I only have so much time, every edition will consequently
be "limited" to the number of paintings I authorize and hand
Giclées can be produced one at a time, so it is possible
that the number of reproductions produced for each painting may be extremely
low. These "open" editions may ironically end up being editions
of two or three prints per painting.
Our current digital technology allows for reproductions that may be produced
on demand, with the highest quality available, and for a relatively affordable
price. In the recent past, if you wanted to reproduce a painting, the
process for setting up the print for a "run" was very expensive.
However, the more prints one produced during that time, the cheaper each
print became. Editions of several hundreds, or even several thousands
became popular. Each print was signed and numbered, and limited editions
became desirable because they were more rare than mass produced open editions.
So now we have digital reproductions, and the current general consensus
is, "limited editions are better". So, as artists, it is recommended
that we produce limited editions of 50 to a few hundred prints, even with
digital reproductions. We can still print on demand, but we are told to
pre-determine how many prints we will create.
If we create a limited edition, collectors of art believe it is a more
"desirable" product, and therefore, the price may be increased.
In many cases, the price is increased to the level necessary to cover
the marketing expenses necessary to sell all of those reproductions. Unfortunately,
even though we now have the ability to produce reproductions as requested,
and therefore perfectly fill the desired market, we still are stuck in
the old belief system that is creating more work for the artist and expense
to the consumer. With limited editions, artists need to market older prints
that haven't filled their quota, and the consumer therefore needs to cover
those same expenses.
I may be going against the grain here, but I believe we may be better
served by scraping the old system of pre-numbered limited editions and
moving towards a numbered as produced system. If an artist uses a digital
form of reproduction, this is possible. And with the internet, you can
be informed immediately of the current number of reproductions produced
in each edition by simply visiting one's website.
I believe this method is true to our current technology, and also makes
the world of reproductions a lot more interesting. Imagine buying reproduction
#1 of a particular painting. Wouldn't you be curious to know how many
more were produced in ten years?
I call this system of reproduction "Numbered Edition". It is
not a Limited Edition, and technically, it is not an Open Edition either.
Reproductions of the same painting may be created at a later date, but
only a certain few will be hand signed and numbered by the artists themselves.
This is what will create rarity and desirability among these reproductions,
and yet, in the beginning, the price will not be inaccurately inflated
by those two little words: "limited edition".
Please note: Many artists are still producing
reproductions in the traditional manner that actually REQUIRES a limited
edition. My opinion stated here applies only to digital reproductions,
which includes giclées, and is meant to inform you of my reasons
for producing numbered editions only. I do not mean to infer that all
artists that produce limited editions are intending to gouge the customer
for more money. Most artists are doing what they believe is the wisest
option for their art and have the best intentions.