Ask a Gallery Owner: Is it Important to Work in Series?

Artists frequently ask me if they should work in series. I recently received the following question:

Is it important for your artwork to be in “a series.” I have a few different styles I like to work in my paintings (from bright/multi-colored to abstract/dark to light/muted). What do galleries like to see in artist’s portfolios?

Kirsten Reed

If you’ve been reading this blog for long, you know that I’m a huge advocate of seeking consistency in your artwork, especially work you are going to be presenting to galleries or potential buyers.

Consistency is bedrock for building a following for your art. Thinking about your art in terms of series takes this question of consistency one step further.  Consistency in your work is an attempt to tie all of the work together by being cohesive in terms of your style, subject matter, theme, palette, medium, and presentation. A series is a set of work that is even more consistent, specifically in terms of subject matter and theme.

I want to say right up front that while some degree of consistency is a prerequisite for working with most galleries, working in series is not. Many artists will attain representation based on the strength of their composition and style, and the quality of their work, without creating work that could truly be called a series.

However, if your work lends itself to working in series, doing so can help create an extra level of interest in your work. Showing work from a series in the gallery can draw attention to an artist’s work. Some collectors will buy into a particular series and want to have multiple pieces from the series.

So what constitutes a series? As I said above, if you are creating pieces that are very closely related to one another in terms of subject matter and style, you likely have good candidates for a series.

So, for example, Xanadu artist Dave Newman has several different series that he works in, along with a range of other pieces.

Here are some pieces from his mixed media flag series.




Flags by Dave Newman

And here are some images from his Matchbook Chief series




It’s pretty easy to see how these piece make a series. It becomes even more clear that this work stands out as series when you look at Dave’s other work on our website. You’ll see a range of other work, including some work from other series.

If we look at another artist I represent, Guilloume, you’ll see that his work is very consistent, but it’s harder to discern series, because the consistency is strong across all of his work. I suppose you could think of all of his work as one large series, but I tend to think of a series as a unique subset of an artist’s work, not the body of work as a whole.

2015-11-16 09_11_00-Guilloume _ Xanadu Gallery Artist

My father, John Horejs, would be another example of working consistently without necessarily having series.

2015-11-16 09_08_08-John Horejs _ Xanadu Gallery Artist

Yes, he does have florals, landscapes, desert scenes, and sunsets, but I’m not sure that simply grouping work by subject matter can constitute a series. In my mind, there has to be something more intentional and specific to tie work into a series.

So, for example, if my father painted the same grove of trees in different seasons, I might consider that a series, whereas just having a variety of autumn scenes feels too loose to be a series.

To a certain degree, this question of what constitutes a series is a bit subjective. I suppose that as the artist, if you call something a series and can point to what it is in the work that makes it series, it’s a series.

The Advantages of Series

Creating work in a series can help provide a framework for talking about and promoting your work. Telling the story about what inspired you to create a series, or what it is that ties all of the work together can be a great way to engage your potential buyers.

There are going to be moments in your career where you find inspiration or imagery that is particularly captivating, both to you and to your collectors. There are some images or compositions that transcend inspiration and become iconic. These images may deserve to be explored more than just once, and building a series around that concept gives you the opportunity to delve deeper into the idea.

Series can also provide a marketing opportunity. A brochure or catalog of work in a series can help capture your prospective buyers’ imaginations.

By working in series, you can also find a source of ongoing inspiration. Often artists struggle with the question of what to create next. If you are working in a series, that question almost becomes moot. You just have to figure out how the next piece will fit into the series.

Are Series Important to Galleries?

Kirsten asks what galleries like to see in terms of series. This is a harder question to answer. As I said, there are many artists who don’t work in series and are extremely successful. While I can’t speak for other gallery owners, I can tell you that seeing work in a series is not a prerequisite for representation at Xanadu.

On the other hand, if you’ve created a compelling series, it may help you catch my attention, just as a series might help you catch the attention of buyers.

How Many Pieces Does it Take to Constitute a Series?

Another question I often hear in relation series is “How many works do I have to have in order to constitute a series?”

Again, this question is subjective. I’ve seen series as small as three pieces and others with dozens of closely related works.

I’ve seen artists who will create all of the pieces for a particular series in a brief timeframe, several months or a year, and then move on to other work and never add to the series again.

Dave Newman adds new work to his various series in an ongoing basis, over the course of many years.

In other words, there are no right or wrong answers when it comes to working in series. My advice would be that if the idea of working in series seems intriguing and exciting to you, pursue it. If not, don’t sweat it.

Whether you are working in series or not, strive to create high quality, consistent, and compelling artwork.

Do You Work in Series?

Do you create work in various series? How important are series to your creative strategy? What experience can you share about how working in series has helped you generate sales? What questions do you have about working in series? Share your comments, experiences and questions in the comments below.

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. I find that working in a series focuses my attention on concepts that may be a bit amorphus, such as man’s symbols and their importance throughout various cultures.

    It also allows me to dig deeper into what I am exploring whether it be design, value, color or a specific subject.

  2. Most of my paintings have a pretty detailed narrative centering around the culture clash between the indigenous Comanche tribe and the invading Texas settlers and are painted on hundred year old, hand written deed documents, glued to canvas, which conveyed lands once controlled by the Comanches, so in a sense, the whole genre of my work is a series. But a couple of years ago, I completed a painting, which sold immediately, that had such a compelling story to me that I couldn’t seem to get it out of my mind. It was called “Cry of the Prairie Flower” and depicted the recapture of white Comanche captive, Cynthia Ann Parker, mother of Chief Quanah Parker and her baby whose name was Prairie Flower. I decided that I had more to say and more ways to tell the same “story”. So I started a series, varying size, format, composition and color palette, but the story and the subject are the same. Each painting has the same title but adds #2, #3, etc. I have greatly enjoyed addressing this in a variety of ways. I live a few hours from the actual site of the incident and am planning a trip to walk the ground. I also plan to gather some soil from the location and grind it into pigment and incorporate it into the paintings in this series. I have found that this series, which is a mixture of history, experience and relic embedded in the work, have captivated my viewers and collectors and created an ongoing interest.

  3. I have painted several series and find that it gives a defined direction to what you are painting; that being said, it doesn’t mean that I sold more work. I think it just depends on what the buyer likes and what draws them to a particular piece of art. Now that I’m working abstract where historically I painted realism, I find it different trying to paint a series or group because I’m not painting a certain thing or scene necessarily but a feeling or movement or interpretation and that’s not as easy to replicate from piece to piece. Again, it will always be what the buyer is drawn to.

  4. It is wise for an artist to consider the business end of being an artist, as well as the creative side. Working in a consistent, recognizable style will generate a greater chance of success. It is easier for a gallery to market an artist working in a series, however the artist does not need to be locked into that series forever. The artist Dekooning once said that an artist can’t keep doing the same thing over and over. You need to be open to explore and grow.
    You may find success in painting, one particular subject, in one particular manner, however don’t allow yourself to become a formula artist who is simply producing the same work over and over again to make a buck. There is a way to adjust your work, while at the same time keep it identifiably your own. Generally the more your name and reputation grows, the more latitude you have. If one creative avenue is not working for you, and your heart is not in it, then don’t feel tied to it.

  5. I can find working in a series to be both boring and tedious with my work. Gourds are a unique canvas in and of themselves as each is different from the last in shape, color, and size. Then I decorate them with distinct designs. So, I do have a recurring theme of sustaining an art form of the islands and their people, and that is represented in my work. Multiple designs say in various hues might be a possibility or even three different octopi, so I’ll have to consider that. This is great advice going forward…

  6. I just finished piece number 13 in a series I’ve been working on for a while now, called The Bridge Series.
    In it, I explore the symbolic and spiritual meaning of bridges, and I find that this really makes people react to my art in a positive way. I get to hear all kinds of personal stories from people who saw the paintings and want to share what it makes them feel/think of/remember.
    I also sold several paintings from the series to several different countries, so it seems to be a winning concept.
    Before this series, I worked on another series, where every painting was inspired by a dream of mine. This was also something that people seemed to like, since dreams is a subject that everyone can relate to.
    Also, like you said, it’s nice to not have to come up with a new subject matter every time I start a new painting.

  7. I like working in a series of three. Right now for example I’m working on large 36×36 hydrangea It has been received with great success. If my audience knows three is the number, I don’t feel pigeon holed to keep painting a series I’ve grown bored with. And if I’m loving the series it’s fun to keep going a little longer in different sizes and perspectives.

  8. I work in broad ideas so a series of images seems a natural process. I’m at a point where I am working with a few “big ideas” which are presented in various guises. I’m currently engaged in a very large project that utilizes a couple of on-going series. It will be interesting to see where this production goes.
    I’d like to hope work in series is a selling point, but recognize also that all my work has to be strong on its own individual merits as well as adding to a series.

  9. I like to work in series as it frames my imagination and makes me focus. The series is like a framework for me that help me explore more possibilities, and channel my imagination. Needless to say, the idea/object must be of high interest to me intellectually and emotionally to inspire me.

Leave a Reply

Your email address will not be published.