[JB]

Portfolios are OK but most of the rest of it is just so much nonsense. Any artist can make themselves look a fool by trying to explain their work so by and large you can ignore their statements and CVs.

So no it certainly does not matter.

[Rob R]

I think that's probably their intention, there's a simple equation;

people like your stuff + people know about your stuff = people will buy

Though, like on many of these occasions, you only really need one reply, as provided by dpack

[Erikht]

It is not a must, though the attitude you sometimes meet here that "the less you know the better you are" is off course stupid, and can not be what you are looking for. That said, art education will usually be (roughly) two things: Technique and coherence/context. If you are technically good at what you do, then by all means continue to develop that part of you; if you are not, you either need to learn more (well, we always need to learn more) or stop doing it.

When it comes to coherence/context, I will give the opposite advice from some of the others here: Do look at other peoples stuff. You need to see as much art as possibly, not to be intimidated, but to understand who you are and how you came to be there. See the stain glass windows in your local church, go at the art museum, look at peoples stuff on their home pages. Develop your eye, and you will find that it develops your style. This can be done with or without a formal education of any kind.

Everybody seem to have statements these days, I really wouldn't worry about that. I support China's liberation of Tibet, but I wouldn't write it on my home page. Resumes are fine, but you have to start them somewhere. Exhibitions are the ultimate goal, really, that's were you will sell your stuff. But I think you will find that other methods can be used in order to become a well known figure. The point here, though, is to make things that people 1: Like and 2: Feel secure in buying. Art can be quite an investment, and you don't want to cash out for something bland and boring that most likely won't retain it's value.

The most important thing here is not to stop doing what you do. Continue your work, and you will find that you can feel comfortable within your own style.

Is it possible to see some of your work?

[Stacey]

It is not a must, though the attitude you sometimes meet here that "the less you know the better you are" is off course stupid, and can not be what you are looking for. That said, art education will usually be (roughly) two things: Technique and coherence/context. If you are technically good at what you do, then by all means continue to develop that part of you; if you are not, you either need to learn more (well, we always need to learn more) or stop doing it.

When it comes to coherence/context, I will give the opposite advice from some of the others here: Do look at other peoples stuff. You need to see as much art as possibly, not to be intimidated, but to understand who you are and how you came to be there. See the stain glass windows in your local church, go at the art museum, look at peoples stuff on their home pages. Develop your eye, and you will find that it develops your style. This can be done with or without a formal education of any kind.

Everybody seem to have statements these days, I really wouldn't worry about that. I support China's liberation of Tibet, but I wouldn't write it on my home page. Resumes are fine, but you have to start them somewhere. Exhibitions are the ultimate goal, really, that's were you will sell your stuff. But I think you will find that other methods can be used in order to become a well known figure. The point here, though, is to make things that people 1: Like and 2: Feel secure in buying. Art can be quite an investment, and you don't want to cash out for something bland and boring that most likely won't retain it's value.

The most important thing here is not to stop doing what you do. Continue your work, and you will find that you can feel comfortable within your own style.

Is it possible to see some of your work?

[Brownbear]

There would be a lot of point, I would have thought.

[Brownbear]

I wasn't answering you. For those who can't understand what I meant, one can set about creating a work of art by starting with the result - what you wish to achieve - and then work backwards - what is the best way of doing so? Or you could sit down with some artistic materials and work forward - "here is a tin of paint, a block of stone, a stoat-fur brush, three tubes of glue and a herring. I wonder what I can make with that."

[Stacey]

I wasn't answering you.

[Brownbear]

Well, I was the first man to exhibit in the Salon des Hermines.

[Stacey]

Well, I was the first man to exhibit in the Salon des Hermines.

[Jamanda]

Well, I was the first man to exhibit in the Salon des Hermines.

[Brownbear]

Well, I was the first man to exhibit in the Salon des Hermines.

[JB]

Sounds like most of the Tate modern!

[Brownbear]

No, it's the French for 'brick'. However, it's the Portugese for herring, but 'herring' in Serbo-Croat is 'stoat'.

[gil]

[marigold]

And if you do that I may feel obliged to needlefelt you to a lamppost

[mochyn]

I was going to say that I don't think Van Gogh had any qualifications.

Tracey Emin has though.

[Brownbear]

When her name was Ermine she used to paint proper pictures of manky dead rabbits.

[marigold]

I do have a haphazard collection of folders with things stuffed into file-pockets which I really need to organise better... I also have various folders full of inspiring photos, pictures and articles culled from magazines etc. Again, not very well organised, but more or less in one place. If you get the side opening file pockets things are less likely to fall out (or get interestingly altered when you spill water into the top of the folder ).

[MarkS]

And if you do that I may feel obliged to needlefelt you to a lamppost