Artists: Are you Consistent? A Gallery Owner’s Perspective

How Developing a Strong Style and Laser-Like Focus is One of the Most Important Things you can do for Your Fine Art Career

A number of years ago, I was approached by an artist who was seeking gallery representation in Scottsdale. She had been into the gallery during an opening and after striking up a conversation, had asked if she might stop back by the gallery and present her portfolio to me when I had more time. I had agreed and she was now back in the gallery on a quiet weekday afternoon with portfolio in hand.

The moment I saw the portfolio I knew I was in trouble. I am not exaggerating to say that this portfolio was at least two inches thick and must have weighed a good eight or nine pounds. After a brief conversation and reintroduction, she handed me the portfolio and said, “this is really only a small sampling of my work – I’ve been painting for over forty years and I have hundreds more images.”

I opened the portfolio and began randomly paging through with the artist looking expectantly on.
There was simply too much work in the portfolio, and I felt as if I were taking a survey of the entirety of art history. The work literally encompassed every style from cave painting (granted, an abstract take on it) to the Renaissance, the impressionists and all of the modern movements since – expressionism, minimalism, and pop, to name a few.

“You’re work is quite diverse,” I said.

The artist took it as far more of a compliment than I intended. “I’ve always felt,” she said, “that it’s important not to get myself pigeonholed into one particular style or theme . . . I like to keep my work fresh.”

I don’t remember the rest of our conversation – although I’m sure I politely waved her off with a stock “we don’t have any room right now,” or “we’re not the right fit.” Looking back, I wish I would have taken the time to give her feedback on her presentation and body of work, as she surely went on to have a very difficult time persuading a gallery to carry her work using that all-encompassing approach.

While this is an extreme example, I encounter variations of this approach quite frequently. Now that I have been in the business longer and have more experience working with artists, I always try to  have a conversation about the importance of consistency (not to mention the importance of creating a concise portfolio).

So why is it important to develop a consistent body of work?

 . . . the decision I am ultimately making is whether I am willing to invest in the artist and their work . . .

Step into my shoes for a moment and view your art through the eyes of a gallery owner. You will quickly see that as I consider an artist for representation, the decision I am ultimately making is whether I am willing to invest in the artist and their work.
I am going to devote expensive wall or pedestal space to displaying the art. I am going to have staff spending time and resources promoting and selling the work. I am going to spend advertising dollars informing potential clients about the work. In order to make this kind of commitment, I have to feel confident that I can see a return on the investment.

This is not to say that I am not willing to stretch and take risks with unproven artists, but I am far less likely to make such an investment if I see inconsistency in the work. My concern is that I will make the investment and begin to build a following for the artist’s work, only to have the artist make a sudden and drastic change in their style, forcing me to start over again. It can sometimes take years to build a following for an artist, and during that time a steady stream of consistent work is key.

Of course, there are many other considerations – quality, creativity, and confidence – but consistency is actually one of the first indicators I look for as it often speaks to the other factors as well.

In fact, when asked what an artist should do to increase their odds of finding gallery representation and building long-term commercial success, consistency would be the very first factor to which I would point. That’s right. Even above quality and creativity, I feel that consistency is the key to long-term success.

So what do I mean by “consistency”? Many artists hear the word and feel a cold-sweat break on their brow. Most artists can understand the importance of consistency almost instinctually, but when it comes to actually creating a body of consistent work, they’re not sure where to begin. Does this mean they should only have one style and one subject? Does it mean they don’t have any latitude to experiment and evolve? Does consistency become a straightjacket to creativity?

To answer these questions we need only delineate our goal. While my ultimate goal is to sell an artist’s work and create a base of collectors who will sustain the artist over the long-term, the immediate goal in terms of consistency is much simpler: when someone walks into my gallery, I want them to see a number of your pieces and have them be able to instantly recognize all of the work as having been created by one artist. I want the artist (you!) to give them a strong thread running through the work that ties it all together. From the first piece they encounter to the last, I want them to look at each and see its relation to the others.

Furthermore, when that same client walks into the gallery a year from now, I want them to see and recognize the new work in the gallery at that time as yours. In the marketing world they call this “branding” and that is exactly what we want to accomplish with your work.

Seeing consistency this way, you will realize that you do have some latitude to vary your work. You can paint landscapes and still-lifes as long as the style or presentation ties the work together. You can sculpt figures and animals as long as the visual language is consistent across the work. You can even vary the media you employ to create the work if the subject matter and theme are unified.

A few illustrations from artists in my gallery will help to illustrate what I mean:

Guilloume. Even though this artist works in oil and bronze, his figurative subject matter and his consistent style translates across the mediums. There is no doubt in a viewer’s mind that this work was created by a single artist with a clear vision of his work.


An Evening Out by Guilloume
An Evening Out by Guilloume
Mutual Thinking by Guilloume
Mutual Thinking by Guilloume


Lorri Acott. Lorri produces in both bronze and clay mediums and sculpts both animals and figures, but her style is consistent and clear. Through the use of elongated limbs and a “cracking” in her forms, both humans and horses are easily identified as being Lorri’s work.

Conversation with Myself by Lorri Acott
Conversation with Myself by Lorri Acott
Deja Vu by Lorri Acott
Deja Vu by Lorri Acott


John Horejs (full disclosure, this artist is my father). Though creating desert and mountain landscapes, florals and still-life work, Horejs’ style and presentation tie his work into a cohesive body.

Salt River Vistas by John Horejs
Salt River Vistas by John Horejs
Colors of October by John Horejs
Colors of October by John Horejs


Dave Newman. Newman’s nostalgic Americana inspired style is both unique and consistent.Though Newman relies on random found objects to create his imagery, he has a very clear vision of how he will give these objects context and how the objects relate to one another. Again, presentation becomes an important part of the equation in creating consistency in Dave’s work.

Taking The Scenic Route by Dave Newman
Taking The Scenic Route by Dave Newman
V8 Road Trip by Dave Newman
V8 Road Trip by Dave Newman


Jeanie Thorn. It is easy to identify Jeanie’s work by the materials she consistently employs. While she varies the size and shape of her sculptures, there is an obvious unification amongst her work that allows visitors to the gallery to locate her work with ease, even when it is scattered across multiple walls.


Mandala by Jeanie Thorn
Mandala by Jeanie Thorn
Cross Cut by Jeanie Thorn
Cross Cut by Jeanie Thorn


“But Jason,” you object, “I’m afraid I am going to get pigeonholed into my current style or subject matter and frankly, I just get bored quickly.” I understand these concerns. Here are some considerations that will allow you to live with (and embrace) consistency:

  • Edit. The great allure of being an artist is that you get to try new things and you are your own master. I’m not suggesting that this has to end, that you are stuck for the rest of your life creating the same art over and over again. What I am suggesting is that you make a conscious decision that the work you are preparing to present to the public or to galleries must be consistent. You can do the abstract work if you are primarily a landscape painter, but don’t include it in your public portfolio. Edit your work down to only the work that is congruent.


  • Give yourself parameters. Allow yourself one experiment out of every 20 pieces – 19 are going to be the consistent, the twentieth can be whatever you feel like doing. This twentieth piece might end up hanging in your private collection or might become a gift to a friend or family member.


  • Evolve. “Look at Picasso”, you say, “he didn’t just stick with one thing throughout his life.” I will agree with you, but if you look at the arc of the lifetime of work Picasso created, you will see an evolution over years and decades. What I want you to avoid is the bi-monthly reinvention that many artists experience on a regular basis (you may be going through this now).

 Now here’s the secret about passion: passion isn’t that feeling you get when you first try something. True passion comes after you’ve sacrificed and devoted yourself; after you have been true to your commitment

  • Choose. Sometimes a lack of consistency comes not out of a love of variety but instead out of a fear of commitment. You might have three or five (or twenty!) different styles you have dabbled in and you’re just not sure which one is the right fit – which one will engender success and sales. I am often asked what style of art sells the best. My answer is simple: the style which any individual artist is most passionate about. Art taps emotion and you are going to be far better at selling if you can make a primal connection with your viewer. You are going to be far better at making this kind of connection if you are creating work that you are passionate about. Now here’s the secret about passion: passion isn’t that feeling you get when you first try something. True passion comes after you’ve sacrificed and devoted yourself; after you have been true to your commitment. There are no two ways about this and you are eventually going to have to make a decision when it comes to your direction – so why not make it now?


  • Cheat. If you have work that is close but not quite consistent, you can fudge a bit by simply using a consistent presentation. You would be amazed at the variety of work that can show together simply because it’s in the exact same frame or has an identical base. There are limits to how far you can push this cheat, but in a pinch it can maintain your portfolio’s consistency.

I met another artist several years ago who had made a commitment to consistency. She decided to focus on one subject for a year. Instead of becoming bored with the subject, she reported that the more time she spent with it, the more she began to see that there is an infinity of variety in the nuances of any subject.

If you have a problem with consistency, I encourage you to make a similar commitment. I promise you that this commitment will have a revolutionary effect on your work and your success as an artist.

What do you Think?

Do you feel consistency is important? What have you done to maintain consistency in your work? What are your greatest challenges as you seek consistency in your work?

About the Author: Jason Horejs

Jason Horejs is the Owner of Xanadu Gallery, author of best selling books "Starving" to Successful & How to Sell Art , publisher of, and founder of the Art Business Academy. Jason has helped thousands of artists prepare themselves to more effectively market their work, build relationships with galleries and collectors, and turn their artistic passion into a viable business.


  1. Ok. Consistently? You talkin to me? It is a problem I struggled with for years. I sold a series of four large floral work s recently. I did them with this particular client in mind and they bought them. I had to force myself to go to the studio and finish them. I then went on an Abstract bing to counteract the boredom. There must be a fine line between boredom and consistency.

    1. That is a great statement Fay, the fine line between boredom and consistency. I too find that occasionally I want to reach into a different style basket altogether just to play and keep experimenting. I have a set of traditional work themes that I present to one gallery and a different set of more abstracted themes that work well in a more contemporary gallery. I also find that the work that I use to teach students is not necessarily what I want to create all the time. I always hope though that my style will come through in all of it and I do keep my surfaces and colour palette consistent.

    2. I totally agree with you Fay. That fine line is difficult to define–I spent years painting African landscapes and wildlife, but now living in England this is a little problematic.. I still love my animals, but find I need to diversify more to suit the people to whom I’m trying to sell.

  2. Very good article Jason. I once made a mistake by showing a wide range of styles in a one person show. People thought it was a group show of several artists. I now try to keep what I show in galleries a little more consistent and it does make a difference in the number of sales that I make

  3. Consistency is very important. I have personally heard Gallery owners say that a certain artist would not be invited to have a show at their Gallery as they would not know what to expect, due to the vast variety of work produced by that artist. I have never had a problem even though my subject matter may vary. The style is recognizable. I like it that way for all the reasons you have stated.

  4. Thanks for your thoughts on this important topic, I have been struggling with this for some time. I can relate to most of the emotions you mention, at least now I know I am not alone. For me, it seems when a fall into a somber disposition I gravitate to hard-edge geometric and when I am not in the space between my ears, my canvases become flowing and rhythmic. That being said, my color palette bridges both emotional states.
    Thanks for what you contribute to the creative process, it has been helpful.

  5. ~ Quote: “What do you Think?” – Jason – I think this is a great article and your best to date . . . Thank You – Carole Orr

  6. This is a great article. I had found it frustrating to try to be consistent, until I started working on themes. Working within the parameters of a theme is actually freeing. I have been finding it easier now to be consistent.

  7. This is a difficult one for me. I was going to mention Picasso but then you did Jason. I am an artist that has become very well known in my adopted city of Brighton on the south coast of England. I’m well known here because of my paintings of local landmarks but I love to paint other subject matter such as political subjects, which I am also well known for…

  8. I think that in the early stages of an artist’s career, experimentation is natural and of course something that helps bring about clarity of one vision. Yet, within 10+ years I feel that and artist should be very clear of their vision. My experience was that one thing stood out for me early on and as you said above Jason, I felt a passion for it, above all else. I’ve followed that path for another 15 years, since it became clear to me. I have no desire whatsoever to experiment outside of my vision at this point, because I am so obsessively committed to it. My advice to any artist who is experimenting all over the place, is to seek for what obsesses them asap and delve into that as deep as you can. It’s the only way to be the best artist that you can be, with your own unique vision.

  9. For several years all of my work was impressionistic portraits or scenes or still-life’s painted on glass. And then 4 years ago I had a tumor in my left eye leaving me partially blind and I started painting acrylic abstracts on canvas. There were two reasons, I could no longer spend the hours focusing on small and intimate details and I loved the new freedom and splashing colors and expressing myself in a new form not hindered by my new visual limitations. I still do occasional glass paintings but they now take two months each instead of two weeks. So I find myself now producing two separate bodies of work.

  10. Jason,
    Your posts are helpful and inspiring. I especially enjoyed this last one on portfolios. You are so spot on about artists needing to be focused and specific.; not show everything they’ve done ( the woman was lucky you were polite!). One gallery I showed with took my abstract animal paintings; another liked figurative. The last gallery who represented my work, showed variety, but liked each artist to stick to his/her style.

    Being in a “stable” was comfortable because it meant the gallery did the hard work — till it folded — the fate of most of the small galleries in my big “town”. Rent has become too steep. I’ve looked for a place online to market my work, and haven’t found it.

    You discuss and answer many topics concern art, from making it to marketing. One of my unresolved questions to which maybe you can respond, is this: Do you think in our culture and time, people have more interest in new electronic gagets, gizmos and apps than they do in something beautiful or interesting just for the beauty, aesthetic and fun of it? We artists need to make it, do others need it?


    1. I am sorry that I have to agree with you Shirley. I have friends who travel the world, go to Europe to buy clothes, drive expensive cars, etc. but can’t “afford” original art work.
      With cuts in budgeting in schools for art & music, there is even less emphasis on the importance of art in our society. Worship of sports figures or of designer purses is the focus. I sincerely hope someone can disagree with me & convince me otherwise. Regardless, if I don’t create I become sad. Creating is an absolute necessity for me. I have found my “brand” and it fills me with wonder. Living with art can change a person’s life…many just don’t realize the power of art.

  11. Jason, I felt like you were talking to me. For years (6 or so) as I have only been painting for 8. I bounced around between painting, photography, watercolours, oil abstract figurative watercolours and crystals and so on and so on and I moved North to where I am now 3 Falls ago. I have had several moves, divorce amongst renovations and being displaced and felt my art reflected every single thing that was going on. I have had the most sales this past year of my whole career and feel I have finally found the body of works I am most confident in and comfortable with and gets my heart pounding and I have to say I get it. I had it mentioned to me early in my career and I was the mindset of…”Oh, I just want to paint what I feel like today” I love that I feel my works are looking more connected and that people say to me now that they can see it is me. Before it was like I was Sybil or something as four different artists in one body. So I am happy I totally get it now I understand and I hope to get better and better at what I love to do.

  12. Thank you, Jason. You have given me direction. I have been bouncing around trying to find my ‘style’ when deep down I always knew what it was. Your article gives me permission to stick to what I love doing. Consistency is a good thing.

  13. As an abstract artist, color is the consistency I go for. I did a series last year that had a theme not explicitly about color. I recently added two pieces from that series to more recent abstract work for a gallery show and it worked, because I chose only pieces that had the same colors as current work. Have had compliments on it and no one seems jarred by work from the two different series. Determining one’s color range is as important as subject matter, I think, and consistent colors can, as the great line from “The Big Lebowski” goes, just pull the whole thing together.
    Another great post and I thank you for it.

  14. Hello Jason !
    Great article and a subject I have wondered about for many years.
    When I consider my own artwork, I notice that nearly all of my drawings,
    be they graphite or colored pencil etc., are of birds, their nests, other outdoor
    subjects akin to these subjects, as well as cats and dogs. Oddly, my oil and acrylic
    paintings are almost always landscapes, setting or rising sun and it’s
    reflections on snow and in alpine subjects, as well as morning and evening sun on
    lakes, ponds and other waterways.
    It’s puzzling how my inclination seems to pick up either a pencil or a brush according
    to the subject planned. Habit perhaps?
    I wonder if this ‘mixture of media/subject association’ would be acceptable to galleries.

  15. Experimentation is part of artistic pursuit but not a measure of a body of work. One must stretch boundaries. Thereafter, come back to your personal compass, your true north. I know of artists who entertained other mediums/styles and settled on the new rather than returning to character … me, never.
    Jason, I particularly appreciate your dad’s work. Describing his “style and presentation” as characteristic although his subject matter is varied, is a point well taken.
    It’s important to understand you’re not stuck, but have developed trait. Sometimes I think artists swing wide seeking the dreaded “what sells.” Please don’t …. rather, find yourself and fine tune.
    Above that, play to your audience – the gallery … they all have personality. Regional differences can be pronounced and trying to sell yourself to a gallery where your work doesn’t fit is a waste of time.
    Once from a patron and another from a gallery owner, I’ve been told, “You have a very distinctive style.” The most meaningful compliment I’ve ever had ….

  16. Wow, your dad was a good artist.

    Your story is funny! Yep, some artists need a wide berth when it comes to their output, others are very concentrated. With my own work I am kinda like the lady you used in your example, although my body of work can pretty much be summed up as social documentary related. And that goes for my archival collection as well.

    Personally I don’t worry about what a gallery thinks or what anyone thinks for that matter. I have one guidline…is it legal. If it is legal I do as I like. Of course, I’m not $ motivated with my photography…I am freezing time motivated.

    Whether you are interested in making $ or not, it is good to have a focused portfolio. There is nothing wrong with having multiple portfolios, but don’t throw a massive mix into one portfolio. (Don’t worry, you can have a Catalogue Raisonné if you must.) The problem with a monster, all inclusive portfolio is people lose interest fast nowadays.

    Sometimes projects will evolve into related projects. For instance I was working on an artist’s book called ‘Til Death Do Us Part.’ That evolved into a 2nd book called Victorian Wedding Dresses. That evolved into Vol II taking in Edwardian wedding dresses and flapper wedding fashions. That evolved into Bridal Bouquets and that finally evolved into bridal parties.

    Now if you know my work, all this bridal work is very different than what I usually do. But if an area interests me I will explore it. And when I explore something it is done in photos and usually large scale. So that is how a single book evolved into many offspring books.

    When I first started with making the transition from film to digital I made myself a Tumblr as my first website. (I could not afford a proper website.) Everything I did went in it. I asked a lady I heard give a photography lecture for some advice on my work, Kinda like an informal portfolio review. So I sent her my Tumblr. She told me my stuff was all over the place. So I took her advice and broke it down into 2 Tumblrs.

    Then over the next couple years I broke it down into more dedicated Tumblrs for each new project. (Now I don’t even use Tumblr much.) In essence I was making a different Tumblr for each project. You will have to decide how concentrated or how dispersed a portfolio you want. The benefit of having multiple Tumblrs was it gave me more results in web searches. (seems that searches will only take so much from one website.)

    Whether you have 1 website or 10, one thing is for sure, when someone Googles your only your best work should show up.


    Do a Google image search for your name right now, are you happy with the results you get? If not, get to work.

  17. Thanks Jason – I have a related question for you, though. I am a Jewelers artist and I have recently been working on developing four collections. So the question of (internal) consistency has been on my mind a lot! I am hoping that when I present my work to galleries this will allow them to choose one (or more!) of these “looks” that they feel will be a good fit for their clientele. But now I am rethinking this approach. Is it okay to have separate collections of work? If so, does one still try to maintain some kind of consistent thread throughout? Thanks in advance for any guidance you can offer…

    1. Hi Hannah,
      I’m a Jewelry artist going through a similar situation as you. I would love some insight into this as well. From what I’ve read on the subject, one thing you might consider doing before you show a collection to a gallery is visit the gallery first to get a feel of which collection seems the best fit for that gallery and pitch that collection. Since consistency seems to be of the utmost importance, it might look a bit inconsistent to have 4 different collections? I’m not sure.

  18. The issue of consistency is not exactly the same for the artist and for the gallery owner. Jason, I think you explained quite clearly that if you as gallery owner are going to take on representing an artist you want the artist to have a clearly defined style or approach which characterizes them and helps you present them to your clients. What happens then is an artist who knows this will pursue creating a style or defined look for their work to help market through the gallery system that may last years or sometime for a lifetime.

    On the other hand I think an artist is by nature most often an explorer, a creative seeker looking for new and exciting ways to express themselves. Now if you stretch this out over a life time the creative artist is more likely to explore many media and techniques, some of which will stick and others that become discarded. Consistency is often much less interesting to this artist than exploration and creative discovery.

    The problem as I see it is how to get a compatible meeting between the artist and the gallery system/gallery owner. One typical answer is for the artist to have a public look or persona in their work around which their reputation in the art work is built and then also have a private art practice. If the artist creates other works that explore new ideas, techniques, approaches, media, this happens in the confines of their studio and may never get seen by others or not seen until after their death. Examples of that are Picasso whose ceramics has only recently gotten attention, or a living artist like David Hockney whose works with Polaroid photography and more recently with iPhone imagery is only occasionally paid attention.

    I know many artists who are not in the gallery world and many never will be and they seem unconstrained and up for all sorts of exploration. But the few I do know who exhibit in galleries have a consistent look to their work that has been built up over many years. However the downside for them may be that they pull back from more open ended exploration of media or ideas knowing that in the end their works have to fit into the gallery world framework.

    1. I agree with you Stan. I would hope that artists who exhibit their professional work publicly, and maintain a robust personal exploratory practice might occasionally draw upon that personal practice to stay fresh, resonant and authentic without completely losing what makes their exhibition work recognizable.

    2. Stan,

      Study Picasso and Wyland. Really look at their work. What do you see? The medium may change but the style and subject does not. Art exploration is in different mediums that may never be “Commercial” enough to sell but the Artist is having fun and builds strength and freedom in the fact that they can put their style and subject to anything.

  19. Yes, great article and each point mentioned rings true. Being an explorative artist a recognizable style or certain “handprint” may develop overtime, but this may not be enough to market them. However, artists need to remain true to themselves and what they can offer, which in the end brings value to their work…..and along the way they may find they come to a place of consistency. In any case, Perseverance is required and galleries can be good catalysts for artist’s growth and success. Thank you.

  20. Jason you have made all good points but I fear that you have ignored the pitfall of being too consistent. I have seen a couple of artist that produce the same “very consistent” work for years to the point of the work being very boring and repetitive. It is good quality work but it is boring in the sense that it looks just like the last piece they created. It becomes cookie cutter in a sense. Some of these artist had early success in selling a certain style of work and decided to not chance losing that success. The metric of success shouldn’t be measured by sales as much as it should be measured by the metric of reaction. I know the sales Metric is invariably important to a Gallery but it can be crippling to the artist

  21. Consistency is everything, I just tapped into a wonderful, totally different way to paint on wallpaper and it is not only fun to explore but getting rave reviews, now everyone can know that these paintings all have a story to be told but also have my style of work noticed. My problem is this, many of my contacts wants to purchase my paintings and so to hold onto a body of work to present to a gallery to represent me is tough. I would love to be represented by a gallery of course but it is hard to turn down the money and I can sell my work at a reasonable rate??? What do I do, I am on my tenth painting, did sell one and am trying to hold off buyers right now?
    What to do?
    Mary Jo Strauss

  22. Love this article. Glad I found my style right away when I started to paint in 2011 – Mandalas! Since then I’ve spent over 6000 hours painting exclusively Mandalas and sold a few hundred of my original paintings with no representation or gallery shows at all. There’s something timeless about a Mandala, and they can also be used easily on all sorts of things like silk scarves, blankets, table cloths etc…, allowing for additional income from product sales and licencing deals. Thanks for sharing your knowledge and experience, I signed up for your e-mail list and I look forward to following along & learning more from a gallery owner’s perspective, as I’m thinking it might be time to look for gallery representation soon.

  23. I can confirm yoir opinion. I’ve been told “if animal eyes are following me, I know you’re in the show.”….or some iteration of it. Doesn’t matter whether it’s a cranky alligator, cute domestic kitty or wolf, the signsture is eye contact. Gives me tons of oppotunity for variety, yet quit by accident I seem to have found a unifyer. I have consciously limited myself to North American animals, but no one seems to have noticed that! -lori garfield

  24. For me, the perfect balance between having a gallery represent and market my work and retaining that wild-assed exuberance that explodes at the very thought of going far, far out on an artistic limb, is to simply relegate various genre and styles to individual venues. In a perfect world, I have clients who adore my traditional western figurative paintings, and others who snap up my abstracts. (In actuality, this is true for me.)

    Voila! Everyone is happy, yes? After all, artists are not mechanized creatures: drop a quarter in the slot and out comes the artwork of your choice. Not.

  25. Thank you for the blog post, Jason.

    This is a very interesting topic.

    My consistency consist of the exploration of postindustrial and hightech spaces, where I contemplate an infinite simplicity and lightness, that I try to express using mixed media.

    Consistency is a result of research that is very important for the development of an artist, I think. This research can be a long life process. Look at the early works of famous artists (Van Gogh, Malevich, Kandinsky…). There were “inconsistencies”. But then all they came to their unique consistency as a final of a research.

    Today, artists must have consistency immediately after finishing Art Schools. And they have “no time” to make a profound research to find an original consistency like in the past. So young artists are forced to find consistency as soon as possible following business and marketing rules. And this is a difference.

    Helen Shulkin

  26. Hi Jason… I believe I am consistent…. but here’s the problem. It can look like I’m going off in tangents but I can plainly see that this type of drawing that I did feeds this other style. And that other style fed this type of drawing. To me it’s clear that everything is connected and by the same artist, but I doubt the viewers can see that. Your article gives me something to think about.
    You wrote an article on branding,which I think goes well with this one. When I think of “successful” artists, my thoughts are; “Oh yeah, he’s the guy who does … ” or ” She the one who paints the…” you fill in the blank.
    One more thing. I’ve been out of art school for a long while. I don’t think you mean this article for the younger artists. I think they haven’t found they’re true voice yet, even if they say they have. Ha ha.

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