As our economy continues to worsen, there are, in my mind, two schools of thought about selling art and ceramics in particular. The first is that, as discretionary income decreases, sales of luxury goods will decrease proportionately as monies are redirected toward essential goods and services necessary to put family first. The second is that those who have purchased art in the past and are passionate about the place of art in a personal cultural context, and who can afford it, will continue to accumulate art. While these are certainly broad statements, we need to be acutely aware of our particular markets and what we need to do to reposition ourselves within them.

What we make is not only driven by our creative minds but also by costs and by time. While our creative minds may continue to work in different ways, we need to pay particular attention to how we make our work. In my previous post, I talked about reassessing perhaps everything in our studio, from materials to processes. Nothing could be more important than using our materials wisely and looking at how we can make our work in different ways that may be more efficient. I remember someone once telling me that making certain high-volume production items allowed him the time and the money to pursue more one-of-a-kind work. This may be one of many thoughts to consider as discretionary money tightens in the retail sector. I am sure that there are many other approaches that can work in our advantage.

But perhaps most important is to look at how we can manage our studios and businesses more proactively by decreasing our use of resources. Do we still need to fire to cone 9-10 when the same results can be achieved at cone 6 in a reduction atmosphere? If we are currently working in the low-temperature earthenware or terra cotta range in an electric kiln, raising that temperature to cone 5-6 will produce superior ware with the same color response. The body is more vitrified and losses can be decreased, as the higher temperature of cone 5-6 eliminates those defects commonly associated with the earthenware or terra cotta range.

Buyers of ceramics are always looking for unique and interesting experiences associated with that purchase. We need to explore additional sales methods to further cultivate a local market, say a 50 mile radius from your studio. Creating a “sales intimacy” or a “gallery intimacy” for those with an exhibition venue alongside your studio is yet another way to further exploit a “First Friday” or a “Kiln Opening” with new work to increase your customer base.

These are but a few suggestions. Ceramic artists and potters have always been known for innovative ideas about stretching our minds for the content of our work. We need to learn to use both sides of our brain. Now it is time to use the same mind-muscle to innovate our studio practices and change the paradigm.