I’ve now filled out the bid tags for Norwescon next week. 13 pieces, and for the first time since my very first Norwescon art show, every single one is brand new. And only one (!) is a limited edition print, all the rest are mixed-media and jewelry of the OOAK variety.
This is entirely new territory for me; I haven’t faintest idea how much of this will be received, though I had a lot of fun making it, which is the most important part. It has been a great relief to move my fine art efforts to the “neat if it sells, but not something I must make work right now” category. Even if my album design work has sapped much of my art making time and energy, once I do get to go there, the lack of pressure is very freeing. Certainly, if I was worried about having to make a profit, doing experimental reverse painting on glass would not have been something I spent a lot of time on. And frankly, knowing that my next forays into studio time will lack even the restriction of being genre appropriate is something I am looking forward to.
There is still framing to do, and two pieces need another hour or so to be completely finished, including the photoillustration, which has been sitting waiting in the “this needs something” state for almost two years; three days ago I realized that what it needed were birds and belugas, and I’m not quite done with making those photographs play well with a scene done entirely in Vue3d. And with the other I am still debating placement of the Buddha head. (I love that sentence for no good reason.)
There is a great deal “Why the hell not?” in this collection. And a certain amount of “I have no clue what to charge for this”, though her Javagoth-ness has been helpful on that front (and on many fronts, actually, I don’t think the jewelry thing would have really happened without her advice and pointers to good component sources.)
It is all going to be ridiculously hard to photograph, especially since I still haven’t picked up my studio lights. Or made a place to set them up.