Alright – so today we’ve got the honor of introducing you to Eric Slayton. We think you’ll enjoy our conversation, we’ve shared it below.
Alright, so we’re so thrilled to have Eric with us today – welcome and maybe we can jump right into it with a question about one of your qualities that we most admire. How did you develop your work ethic? Where do you think you get it from?
Growing up in Fort Worth in the fifties and sixties was always a challenge. “What are you going to be when you grow up?” Becoming an artist was not on the list. “Men don’t draw pictures. for a living”. Both my biological father as well as my stepfather were builders, so my path was already laid out for me.
As a young kid I always worked after school at the building site. Picking up tools left behind, sorting wood and straightening nails and doing clean-up, had a paper rout and now and then picking okra at small local farms. When the second divorce hit our family, my mother, two sisters and I dug in and went to work. I was fourteen and I have been working ever since at many different jobs. . . except for picking more okra!
So, I guess you could say that my work ethic, like so many other baby boomers, developed from necessity and the good old “get’er done” culture.
Thanks, so before we move on maybe you can share a bit more about yourself?
For the pass thirty years I have enjoyed working in the Fine Art Field. It has been for the most part, very rewarding and full filling, not many people have the opportunity to earn a living doing what they love. It has also given my wife Marlene and I the opportunity to travel and enjoy the many places this world has to offer.
This business has it’s challenges also. Maintaining the business side is demanding and very dull. However, keeping good records is essential to the success of any business. I’m thankful to have Marlene to handle the business end.
At the onset of being a “professional artist” I chose to sell my work through upscale Art Galleries . . . I do the work and they advertise and sell it. During these thirty years I have worked with many galleries from California to Virginia, from Texas to Montana.
I would select towns that were good for Winter tourist and those that depended mostly on Spring and Summer tourist traffic. This strategy allows me to paint different subjects for different clients. However, if I could only paint one subject it would be scenes with water. . . I believe we are all subconsciously drawn to water . . . either because it’s our place of origin or simply because it offers such feelings of tranquility.
Looking back, what do you think were the three qualities, skills, or areas of knowledge that were most impactful in your journey? What advice do you have for folks who are early in their journey in terms of how they can best develop or improve on these?
I was lucky to have had twenty-five years experience in advertising, commercial illustration and marking communications as a prelude to becoming a “fine art” painter. My skill as a draftsman has always been easy for me. All I needed was some study with notable artists that I admired and some maturity in my ability and confidence level.
From there it was a matter of hard work and persistence. Even at my age now I continue to evolve and change and try different approaches. Cease to change, and cease to discover and you cease to grow. Nothing is more disheartening than becoming successful at doing one subject over and over until you fall out of favor with your collectors.
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Number One: Know the demographics of the town you wish to exhibit in. Who is buying, what are they buying, are the perspective buyers tourist or residents and so on.
Number Two: What I found most valuable in starting out was a very good knowledge of the business end. Keeping track of your inventory, knowing who is out there and what they are painting, your competition as it were. Good art is not developed in a bobble. Know the business as well as your art.
Remember, even though you put your heart and sole into your work it is mostly a
decoration, an enhancement for the buyers home or office or a souvenir of a place they just visited. In other words, your art is just a product to most buyers.
Number Three: And lastly . . . always set attainable goals . . . but lots of them.
Is there a particular challenge you are currently facing?
The art business like any other endeavor has one obstacle or challenge after another. At this time in my life I’m dealing with a few issues.
Mostly the condition of the economy. The fact that buying fine art falls at the bottom of any collectors list. You can’t eat a still life painting even if it’s a painting of fried okra.
Since the pandemic and the shape of this economy many galleries have closed and finding a new place to exhibit my work is akin to finding chickens teeth.
And of course there is “TIME” itself. So many creative ideas will never be.
To offset this slack in business I have started marketing more through my website, doing more commission works and participating in accredit art shows and museum exhibitions.
Contact Info:
- Website: slaytonfineart.com
