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I once walked into a "gallery" that was really a framing shop with a few things on the wall. They wanted 50% and I had to deliver everything framed myself. I said no and the woman acted like I was the unreasonable one. What's the most confusing gallery experience you've had, the one where you weren't sure if you were talking to a gallerist or something else entirely?

Myself Ramesh. I have a question for the experienced people here. A gallery in Delhi showed my Mithila paintings last year. Very nice people, good space, they treated me with respect. But the split was 50-50. I agreed because I was happy just to be there, honestly. My family said I should have asked for more. Now I am wondering, what is the normal thing? What percentage you all are giving, or taking? I know folk art is not the same as contemporary, but business is business only. Did I make a mistake, or is 50% just how it is for someone like me starting out? Please tell me straight. I can take it. 🙏

My first gallery sale, I was so happy I almost didn't notice the cheque took four months to arrive. Almost. The second one took five, and a nudge. I was young and I thought that's how it worked, you wait, you don't ask, you're grateful. Now I have a rule: two months, and I send a polite email. Three months, and I start to wonder if they're running their business on my work. What's your line? How late before you say something, and what do you say? I told a gallerist once "I know you're busy, but my bank is less patient than I am" and it worked, but I still felt like the difficult one. Which is ridiculous, non?

A man I've sold three paintings to over the years, nice enough, serious collection, comes to the studio, emails me last month. He wants two new pieces, both around 80x60cm. He asks if I can "do something" on the price since he's taking two at once. I said no. Politely but directly. I explained that my price is the price because of what goes into it, not because I'm guessing what the market will bear. Buying two doesn't make the painting easier to paint. He wrote back the same day, a bit cool, said he understood. I haven't heard from him since. Maybe I lost a client, maybe he's just busy. What I keep thinking about is how uncomfortable that moment was, the feeling that I was being rude by not playing the game. In France especially, people negotiate on everything. But I don't want my work to be something you bargain over like a carpet in a souk. The price says what the work is. If I bend, I'm saying it wasn't really that price to begin with. Still. The silence makes you wonder.

There's a Saturday market in Galway I've been doing on and off for maybe twelve years. Rain, hail, the odd glorious day where everyone's in great form. And I used to think the point of it was to shift prints, which it is, but the real thing it taught me is how to talk to people about what you make without sounding like you're selling. You get all sorts at a stall. The tourist who wants something that says Ireland without being a leprechaun on a toilet. The local who stops because they recognise the pier or the mountain. The person who clearly loves the work but hasn't got thirty quid and stands there turning a card over in their hands. And you learn, quick, that the ones who buy aren't the ones you try to convince. They're the ones you just talk to, normally, about the carving or the ink or the hare that lives in the field behind your house and won't let you get near it. The thing that stuck with me is this: I've never sold a print by telling someone how good it is. I've sold plenty by telling them the story of the night I carved it and nearly took the tip of my finger off, or how the block got dropped in a puddle and the crack became part of the print. People want the thing behind the thing. They don't want a pitch. Anyway. The market's grand for that. But online, I still catch myself trying to sound like a proper business instead of just a fella in a jumper with ink under his nails. And the minute I do that, engagement drops off a cliff. The posts that work are always the ones where I forget I'm supposed to be marketing and just talk about what happened today. Sure I don't know where I'm going with this except that the best marketing advice I ever got was from a woman buying a print of a heron who said "just tell me why you made it" and walked away with two.

okay so I keep thinking about this and I wanna know if I'm the only one this has happened to. I had a gallery owner literally shake my hand at a studio visit, say "these are perfect, let's get you on the books," and then... nothing. never heard from them again. I followed up twice, polite but not pushy, and just got radio silence. did this happen to anyone else?? like is this just part of the game or did I do something wrong? I'm still pretty new to this whole gallery thing and I honestly don't know if I should've been more aggressive or if they just got busy and forgot or what. my take rn is that handshake means nothing until there's a signature but man it stung a little haha. tell me your ghosting stories so I don't feel like the only one 🥲

walked into a gallery opening last week, guy comes up, says he's been watching my stuff online. my heart's pounding because holy shit someone noticed. then he says "your work has so much raw energy but you'd sell three times as much if you just... pulled it back a little. make it more accessible." i stood there holding my wine and wanted to cry and punch him at the same time. accessible. like what i'm doing is too MUCH. like the whole point is to make people comfortable. i spent years learning how to stop making polite art. i grew up in a house where we didn't talk about what was actually happening and i painted that way for so long, safe, quiet, looking good on the surface. i taught myself to tear that open and now someone wants me to smooth it back down so it matches their couch. i told him no and he gave me this little pity smile like i'd made a business mistake. maybe i did. don't care. art that doesn't cost you anything isn't worth looking at. i'll keep painting the ugly honest stuff even if it hangs in my hallway forever 🔥

I had a gallery in Delhi showing interest in my Mithila work. Very excited I was. Then they said, you will arrange framing yourself and also deliver to the venue at your own cost. For a group show, not even solo. I thought the gallery handles presentation side no? Otherwise what is the gallery doing. I told them sorry ji, this arrangement does not work for me. Maybe I lost an opportunity but it felt wrong. What is your experience with this? Which costs the gallery should cover and which the artist bears? I am still learning the business side after so many years of just painting. 🙏

ok so I spent like a month earlier this year obsessing over my instagram grid, scheduling posts, planning reels, the whole thing. had a notion doc and everything. and you know what happened? nothing. flat engagement, same followers, maybe one sale from it. then I had this week where I just said fuck it and made 40 tiny test tiles, different clay bodies, glazes I mixed myself, firing temps I'd never tried. just messing around, no end goal. I posted them ugly, in progress, some failed. just the real process, no polish. those posts outperformed everything I "planned" by a lot. like triple the saves, actual comments from other potters, and two commissions from people who saw the test tiles and wanted something in that glaze. I think the audience can smell when you're performing vs when you're actually doing the work. the planning was me trying to look like a serious business. the test tiles were me being a ceramicist. anyone else find that the stuff you don't overthink just lands better?

I did the math on a recent sale because I was trying to convince myself it was worth it. Large oil and cold wax, 160 x 200 cm, worked on it for about six weeks on and off. Gallery takes 50%, which is standard here. Fine. Then: stretcher bars and canvas, oil, cold wax medium, pigment, about €280 because I don't buy cheap canvas. Transport to Berlin in a hired van because it wouldn't fit in my car, €120. Insurance for the transit. The opening, where I bought drinks for a few people and we all went to dinner after, and I picked up the bill because the gallery director looked at me and I knew I was supposed to. That was about €340. So €4,200 becomes €2,100 after commission. Subtract €740 in costs I can track. That leaves €1,360. Then maybe six weeks of work, but not full-time weeks, so call it 18 days. That's about €75 a day. And I haven't paid tax on the €2,100 yet. I don't know what to do with this information. The painting is sold. The collector is happy. The gallery wants more. And I'm sitting here thinking I should feel good and instead I feel like I ran a small business that lost money on a job. Which I did, if I paid myself minimum wage. The problem is the painting wouldn't exist without those weeks. I can't separate the time from the thing. And the gallery can't sell a painting they never see. And I can't get the painting to Berlin for nothing. So the costs are real and the math is bad and I don't have a solution. Just the numbers.

So I decided to actually log everything I did to promote my work in February. Not just guess, actually write it down. 27 hours. Twenty-seven hours of scrolling, posting, hashtag research, replying to comments, writing newsletter drafts I never sent, reading articles about algorithms, changing my bio three times. And you know what came from it? Two commission inquiries that both ghosted after I sent pricing. Meanwhile the one thing I actually sold last month came from someone who saw a piece in a café window where I'd left a business card months ago. Zero effort. Zero hours logged. I'm not saying marketing is useless. I'm saying I spent 27 hours doing stuff that felt productive and most of it clearly wasn't. I don't even know what to cut because it all felt important in the moment. Has anyone actually tracked this and changed what they do based on it? Or are we all just spinning plates and hoping?

I have a box of my ex-husband's old tax returns. Not for any sentimental reason. Just feels wrong to toss someone's financial records in the bin, even if they're from 2012. They sit in the bottom of my supply closet next to a bag of dried-out markers. Also have a broken ceramic rabbit my mom gave me when I got divorced. She meant well. The ear fell off in 2020. I glued it back on badly and now it stares at me from the shelf like a little insult. What's the thing in your studio that has no business being there but you can't get rid of?

I just finished a 50x65cm interior piece for a client in Paris. Painted it over about six weeks, it came out well, one of those where everything clicked. She paid my price without blinking, €1800. Pleased with that part. Then she asked me to deliver it framed. And I thought yes, fine, I'll take care of it, I know a good framer. The frame cost €520. The glass alone was nearly €200. I ate that cost because I'd already quoted her a flat price and felt stupid going back. So my real rate for the painting dropped to €1280. And that's before the canvas, the oil, my time. I'm not sure what the solution is except to state it upfront: "Prix hors encadrement" and mean it. Or add a framing fee that's transparent. But I know myself, I'll forget to say it next time too, because I'm thinking about the painting and not the business of the painting. And then I'll be pissed off again. Anyone else have this? The hidden costs that feel too small to mention but add up to a real bite.

There's a hotel in the old town here, small one, maybe fifteen rooms, family-run. The owner saw my work at a group show and asked if I'd do a large piece for their lobby, a view of the Saône at dusk, something calm. I said yes before I'd even thought about money. When we sat down to talk, he told me honestly he had almost no budget. The hotel barely survived COVID, they're still digging out. I said fine, I'll do it, just cover my materials. He looked relieved and ashamed at the same time. So I painted a 120x80 for the cost of oil and linen. About €280. The painting took me maybe sixty hours. I don't need to do the math again, I already did it and it's stupid. But here's the thing, it's in a place where people sit and look at it every morning over breakfast. The light in that lobby at certain hours is actually beautiful and the painting sits in it the way I hoped. I see it sometimes when I walk past. I don't regret it. I'm not saying this is a sustainable strategy. But a painting that lives well somewhere, even for nothing, I don't know. Sometimes that matters more than the hourly rate. And then sometimes I think I'm just telling myself that because I'm bad at business. Anyone else done a free or nearly-free piece that you still don't feel bad about?

havent properly painted since march. every time i walk past the easel i sort of look away from it. ive been telling people im "busy" and "in a thinking phase" but the truth is im scared. like what if the part of me that needed to make things just quietly left and didnt say goodbye. has anyone come back from this. does it come back