Thursday, November 11, 2010
Out of Commission
When I spent most of my creative energy producing equine paintings, not only did I accept commissions, I eagerly sought them out. I traveled to horse farms, training facilities, and race tracks. I met all kinds of people- some real characters,too- and got a first hand look at the "back side" of horse racing in all its weird, distasteful, beautiful, hard working, corrupt, and somewhat faded, glory - something most people never get to see.
Then there is the Human Factor: you have to handle other people's egos, their unrealistic expectations, their sentimental attachments, and in the case of the very rich and very busy (mostly) businessmen/racehorse owners, you also have to also have to work around their crazy schedules.
I don't mean to suggest that doing commissioned work was a completely negative experience, on the contrary! It taught me the two most important rules for an artist: 1) Always Have a Written Contract, and 2) Always Get a Nonrefundable Kill Fee of 30 % Upfront. It also taught me how to say no to jobs I knew just wouldn't work out, how to humour difficult people, and how to distance myself from my work so that I didn't take criticism personally. And if I hadn't danced to the tunes of others, I would have been deprived of such learning experiences as:
- Being commissioned to produce a double portrait of a teenage girl and her horse only to have the 'girl' part of the portrait proclaimed unacceptable by the unpleasant mother because the LIKENESS WAS TOO GOOD! The girl had a rather prominent nose, which I had faithfully reproduced. The horse part of the portrait was deemed adequate and they eventually settled on the horse alone.
-Receiving photos in the mail of an aged brood mare and being asked to paint a portrait of the horse, but would I please: straighten the animal's back, lift the sagging belly, remove a scar on the neck, flesh out the neck a little more, make the eyes more youthful, fill out the mane, and not include all the ear hair. I should have asked them if they would perhaps have preferred that I paint a different horse entirely.
-Being handed a handful of blurry, underexposed, distorted snapshots of a standardbred in a stall, and being asked to immortalize an animal I could barely see.
-Having to do a photo shoot of a racehorse outdoors in a snowstorm because the trainer was only available that one day. The owners wanted a summer scene.
-Delivering a completed racing portrait to an owner only to have him look at it and say, "But that's the wrong horse." Whereupon ensued a rather heated cell phone conversation between the owner and the trainer in which the owner said, "Bay? What the hell is bay?!"
-Being paid by an owner in cash,in thousand dollar bills, from a desk drawer stuffed with money, the provenance of which I dared not ponder. Fortunately he didn't want change, either.
-Being sent to the wrong address and ending up at a sort of abandoned looking horse farm, only to find myself alone and surrounded by Rottweilers.
-Arriving at a training facility to photograph a stallion worth a couple of million dollars, and being told by the trainer that they were too busy to deal with me, at which point he handed me a towel and a bucket full of brushes and said, "Go put him in cross ties and groom him yourself." So I did.