San Francisco based Artist & CEO

Why someone collects art is very personal motivation.  Just as personal as their musical or fashion preferences, for example.

And art is generally the focal point of an interior environment. It’s the primary focus of a room and it therefore expresses a lot about the owner. That’s one reason to collect art.

But most people simply collect art because the work of art has a moving aesthetic appeal and it has an emotional impact and meaning. The piece resonates with them in ways they often cannot fully explain.

Art is about emotion and the same piece of art can ignite a different emotional response in each person.  Your response is the only one that matters.

The fact is that a painting is just paint stuck on canvas but the artist’s emotional energy and skill behind the medium has the power to transport the viewer, to shift their consciousness, and to offer continuous inspiration.  Many of my collectors will say that they see something new in the painting every time they study it, day after day, year after year.

Some collect art to buy and trade for a profit but most art collectors buy art for the pure pleasure of it and because they enjoy the relationship with the artist.

Humans have been collecting and commissioning artists throughout our history.  Art expresses our culture’s deeply held values, beliefs, and current point of view, often reflecting our history.

Whatever the reason you collect art, I can say that I have yet to have a collector who regretted buying one of my paintings.  But I have met several people who deeply regret not buying one of my original oil paintings when they had the chance.  I know, because they are still mentioning it years later.

San Francisco based Artist & CEO

A luxury-marketing consultant recently asked, “Why don’t you paint luxury sports cars? It’s the same darn thing as a vineyard!?” “Are you kidding?” I laughed.  But, he wasn’t.

I’m not sure how a vineyard and a car are related in this gentleman’s mind.  But he insisted that they are the “same thing” and that his recommendation would give me the opportunity to appeal to a luxury market with a predisposition for collecting. It may be the same thing for a commercial illustrator, but from an artistic point of view, it’s just not.

He was on the right track.  It’s no secret that I’m targeting prospects with well above average discretionary income and collecting personalities, but I’m not a commercial illustrator.  I’m an artist.  And as an artist, I have to pursue subjects that I feel passionate about and that resonate with me, or, I can assure you, they won’t resonate with collectors.  I also don’t want to confuse my market with an unrelated direction.  It’s best for businesses, and artists,  to first firmly establish a niche before they venture too far a field.

I receive a similar “suggestion” about painting golf courses.  I mean no disrespect to car or golf enthusiasts, but neither fancy sports cars nor are golf courses are of any interest to me.  And I’m quite clear on my art direction, thank you.

I once lunched with Stephanie Gallo, and she asked me  “Why do your paintings have so much feeling and depth compared to the artists that we have worked with?  Their work doesn’t even compare.”  My answer, “Because you’re not telling me what to do.  I’m expressing my emotions.  I can’t possibly do that if I’m thinking about satisfying your expectations.”

I’m not sure if she liked, or really understood, my answer but my response is the simple truth.

In the words of Tim Mondavi, art, just like wine, “has to come from the heart.”

San Francisco based Artist & CEO

I don’t know who to credit with this obvious wisdom with but this has been a guiding principle of my life for the past five and a half years.  Developing as an artist, while building a business, and a respectable brand, has required constant learning and ongoing examination, all of which I wasn’t really prepared for with my fine art degree.

Before this, I tried to fit into the predictable pace of a conventional job because I thought that this would offer more economic stability and therefore happiness. But frankly I was often bored with my work and frustrated with the inevitable office politics.

My work in various cubicles in no way involved my passions or interests and it actually wasn’t really all that predictable.  When I was an employee the employment environment was becoming less and less stable; I can’t even imagine what it must be like for so many now.  I was like many employees: subject to layoffs, shifting priorities and projects. I had a really hard time faking being a “team player” when I believed that the “team leader’s” eyes where not on the ball. I was never a cheerleader and when I was nominated for homecoming queen in high school, I respectfully declined.

So I’m happy to say that almost every week I’m doing something that I’ve never done.  On some levels its made my life much more challenging but it’s certainly more rewarding.  And I because I took more risks I have more than I could have imagined five and half years ago and I know that there is more to come.

San Francisco based Artist and CEO of Ann Rea, Inc.

1. Artistic success comes from clearly and authentically expressing yourself, with skill.
2. It’s a numbers game, the more paintings you create, the better the paintings.
3. The best paintings come easy. Don’t overwork a painting or make it too precious or it will feel overworked.
4. Paint and don’t think about it, feel it. It’s like dancing.
5. Art has the power to make people feel and heal, just like a drug.
6. You have to love your work if others are going to love it.
7. Art is very subjective. But quality and skill, they’re easier for everyone to recognize.
8. Confidence comes from experiencing success but first it comes from the story that you’re telling yourself.
9. Painting is art, selling a painting is business.
10. Nurture your relationship with collectors, they are your best source of referrals.
11. Invite collectors to ask any questions.  The creative process is fascinating.
12. Art requires passion and discipline.
13. Creative people need to express themselves to be healthy and happy.
14. The human condition is universal and art can help us feel connected to our humanity.
15. Painting is but an illusion of shapes, colors, and lines.  But the emotional and creative energy behind this has the potential to transport the viewer.
16. Your compensation is commensurate with the amount of value that you provide.
17. Don’t accept art direction, unless you are an illustrator.
18. The act of destruction is linked to creation, enjoy destroying some paintings.
19. Everyone’s a critic.
20. And everyone proclaims that they are an artist, when they are children.

What is an oil painting?  It’s simply layers of paint of different colors, lines, and shapes on canvas.  Maybe some other mediums mixed in.  But basically that’s it.  For the most part the canvas is a rectangular shape.  This is the conventional format that we agree upon and anything else would only serve as a distraction.

Often there are some charcoal lines underneath the paint, a drawing.  Then layers of colors, lines, and shapes on canvas.  The artist’s skill is maneuvering and forming these colors, lines, and shapes in such a way that they project an illusion to the viewer.

The illusion that can move you from where you are in that moment to another place that you imagine while looking at the painting.  It can draw you in.  If I’m doing it right you are “savoring the colors of a moment.”

Obvious? Maybe.  But how conscious are we of the illusion?

For centuries we took the illusion for granted and then the abstract art movement blew the illusion to pieces. They began to simply celebrate the essence of the expression, the shapes, the colors, and lines for their own sake.

The uninitiated argument is that this is somehow demonstrating less artistic still or even creative ability.  Not so.  It’s just not demonstrating the illusion.

What you see above is my first layer of lines, charcoal lines.  Blocks of colors in different shapes will follow; they are the colors that I see underneath colors.  How do I see this?  I just use experience that I’ve learned to trust over time.  The illusion resides in my head and I build it layer by layer.

People will ask me “Do you enjoy painting vineyards?”  They are not my subject, color is my subject.  Color that’s inspired by natural ambient light and the illusion that it forms in my head.

Alf Nucifora, Chairman of the San Francisco Luxury Marketing Council recently interviewed and profiled me and my company.   It’s transcribed here.

Many people are confused about my business model; they expect that a gallery should represent me.  However, Ann Rea, Inc. is the legal entity that represents the artist Ann Rea.

Creative property is a most valuable asset in our current conceptual economy.  So I deliberately followed the lead of many musicians who have ditched their major record label contracts to maintain ownership of their copyright and to keep creative control and to earn more current and future revenue.

I joined artists who leverage the Internet to reach their market and to build their platforms.  I also joined the Luxury Marketing Council to hone my marketing skills and to meet like-minded people.

The San Francisco Luxury Marketing Council has provided an opportunity to enjoy crossing paths and to become friends with a number of people with unique talents and interests. Alf Nucifora is a Harvard educated, Australian.  He used to be an advertising executive and he’s a natural connector.  Nancy Zerrela is a former designer from New York who is launching a new online media resource that explores the creative process from the point of view of a number of innovators.  Simon Stokes is a sales consultant who has helped me create sales strategies based on my current marketing strategies.  Simon used to sell Lear and Challenger jets to CEOs and celebrities so he understands the luxury-market.

I look forward to my San Francisco Luxury Marketing meetings because I’m always sure to learn something new or to cross paths with someone I’ve never met.

San Francisco based Artist Ann Rea, CEO of Ann Rea, Inc.

I still get this question!  The paintings that I paint are the paintings that I want to paint.  I can’t even imagine having it any other way and calling myself an artist.  Otherwise I would call myself an illustrator.  Who I have a great deal of respect for, by the way.

Now I am very mindful that if I want to exchange my creations for payment then I have to add value beyond selfish self-expression.  I’m not criticizing self-expression as selfish. I’m just saying that as an artist, interested in building a strong business and brand, clearly I have to think beyond me.

This Friday I was at a reception at an incredible contemporary estate in Napa Valley.  And ironically it was two “artists” who asked this question. “What other work do you do?  You know, for yourself?”
One a photographer and her husband, a sculptor, a retired physician.  So I’m assuming that their monetary concerns have been different from my own and that has shaped their perspective.

A former art director,  along with another guest, then asked if this was what I did “full time?” Another asked “Ann, are you here to show your work?”  “Actually, I’m here to develop a strategic partnership with the host.” I responded.

I can’t pretend that I’m not irked by these questions.  I’m a serious full time artist and entrepreneur.  Imagine that!  Is that not obvious?  Or are the stereotypes about artists just too strong for this to be as plain as the nose on your face?

But I accept the perspective of these relatively affluent people who, like many, see art making as an indulgence, maybe a career, and a business, “oh really?”

In my experience I’ve observed two distinct camps.  Those interested in art and music making in exchange for money and those that don’t believe this should happen or have enough confidence and skill to make that exchange.  Guess which camp I belong to?

I know that my brother, the former Dean of a business school, did not take my venture very seriously until my business was profiled by Fortune magazine.  Then suddenly I was a teaching moment, an example of how to live your passion and earn a living.

It’s not only possible, but given the opportunity, I believe that it’s our obligation to live our lives to the fullest, to be fully self expressed, and to provide value so that we can earn as much money as possible doing it.  Then we are in a better position to live a healthy, prosperous, life. And then to give back.

Oh please.  Those who know me know that’s not my plan.  Now does suffering inform an artist’s work?  Maybe. Art is not literal; it is emotive.  So feelings inform an artist’s work and they are central to the artist’s unique voice. And life experiences and a certain depth of emotion develop an emotional register that I think is necessary if an artist is going to have anything interesting to say or to express. The artist has to feel it if their audience is going to feel it.

I’m not actually a fan of most contemporary art because it expresses a very narrow band of emotions: irony, angst, and shock.  I’m bored with it.  And I don’t relate to these emotions.  Although I do believe that they reflect the broader contemporary culture. I can only express my voice, deepened by my life experiences.

Why is my tag line “Savor the colors of a moment?”  It’s catchy, but it actually goers deeper than that.  Because for most of my life, before I started painting for a living, I suffered from chronic anxiety and deep depression.  I was actually advised that I would suffer from these conditions for the rest of my life.  Thankfully, I told the doctor to stick it and I took charge.

And it’s been many years and I no longer suffer.  If I had to sum up the experience of anxiety I would say that it’s a preoccupation with the future.  And depression is a regret or a continuous review of the past.  I have a friend who had chronic anxiety and then developed stage four breast cancer.  She said the anxiety was harder to cope with than the cancer.  That’s suffering.

When I paint I am the most present that I can be.  So my subject is light expressed as color.  And this single focus gives me peace.  So my suffering did inform my work but I certainly don’t feel obligated to suffer.

I realized that most people never get to see what’s under the oil painting so I thought that I’d give you a quick peek, as it’s progressing.  As you can see, it starts with a charcoal drawing. Why charcoal?  Because it leaves a strong line that’s not too black. And it’s a medium that’s easy to shape.  It responds to subtle pressure, unlike a Sharpie pen.  It’s also a medium that doesn’t bleed through to the surface of the oil painting, like graphite can, if you used a pencil.

In its rawest form painting is a bit like cooking.  The ingredients are shapes, lines, masses of color layered over other masses of color.  And you have to assemble these ingredients in a certain order.  You can’t put the cherry on top of the cake before you’ve mixed the batter.  And each element is adjusted relative to how it exists in context to the whole image.

How do I decide what to do next or in what sequence?  The best analogy that I can offer here is that it’s a bit like dancing.  You have to learn the steps to a particular dance and master your technique.  It helps to be physically fit and have some rhythm.  It’s not good if you just can’t hear the beat.  After that you just feel it.  You follow the beat.  There’s really not that much thinking involved.  As a matter of fact, when I’m thinking or tensing, I step back or I leave the painting for days at a time and return with a fresh perspective.  Then I can really see it.