on September 22 | in TreeHouse Talk | by | with Comments Off on WHO SAYS SCARCITY INCREASES POPULARITY

by Stephen Pearson22 Sept 2014 – As a child in the 70s among the three must-have prints in our family home were The Jesus Sacred Heart and The Last Super (in 3D if you were unlucky). All gave me nightmares. Although I do have a framed print of La Joconde (the Mona Lisa) in the office I don’t like mass-produced prints. But in a climate where it’s all about the Benjamins* – I despise Americanisms –selling 100 prints of anything can’t be bad, can it?When we first started in the game we were of the opinion that prints reduce the value of the original work, but not all artists can afford the luxury of the long game waiting for a buyer to snap-up your original at your desired price.
A debate rages about over exposure through mass-produced cheap prints – whored out copies – moving the work up in the popularity stakes, against the if anyone can get hold of a print, why buy the original?
The dilemma remains, if no one is seeing your stuff, how do you achieve either of the above. sacred-heart-of-jesus
At this point when I am reminded that you could buy original art from a new & emerging artist for as little as £40 there are a few reasonable answers.
Make original art more affordable, produce limited edition prints, and create less snooty galleries in places where they’d be reduced to buying a print of a nonplussed waxen looking image of our Lord & Saviour on the grounds that their granny has one.
Although I’m not much of a gambler, I reckon in the  mass-produced 70s domestic print market stakes when up against another popular print of that era such as The Wings of Love by Stephen Pearson (an estimated 3.5 million copies sold), The Jesus Sacred Heart wins nailed-pierced hands down.
I therefore declare prints versus originals a split decision, go in whatever direction your purse or sacred heart strings pull you.

SLIGHTLY RELATED WORKS: JC Superstar by Keeley Wynn and Gratia Plena by Piluca

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