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An interview with Tom
Sierak
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* As winner of Second Prize in Realism in the 2000 International Art Contest, being selected by such a diverse group of artists from all around the world, how do you feel?
It's really quite an honour, to be sure. As an artist, I often wonder about the placement of my work on a grand scale. It's easy to get caught up in compliments by those around me in my everyday life, but what my peers think, along with the outside world, is the real test of the strength of my work.
* Please describe your current works and any plans for forthcoming exhibits.
My approach in style and medium is the same..."American Realism In Pastels". As far as subject matter, I am currently painting three themes, those being figurative-children, figurative-romantic, and coastal scenes. My work is exhibited on a regular basis at several galleries with the largest being with ESL Lawrence Ltd. in Charleston, SC.
* If any, in what ways have you seen changes in attitudes towards "art"?
I believe that there is a slow but steady trend favouring traditional realism and that it has been taking place for about a dozen years or so. After a century of other types and styles of work, the public seems to be leaning back toward the more classic/representational look. I also believe that, at least here in the States, people are becoming more aware of what constitutes quality work and are taking the time to learn more about fine art in general.
* Do you think that the fine artist will survive as technology replaces our skills?
Without a doubt. There will always be a demand for one of a kind handmade products, whether that is a painting or a fine piece of furniture.
* What advice could you give to those embarking upon a career as an artist?
Don't ever think that you can only paint just for yourself, because it simply can't be done. An artist should always keep "public opinion" in mind, whether they like it or not. Of course, there are varying degrees of public opinion. Without it though, one's work isn't worth the canvas or paper it's painted on. That said, if an artist wants exposure through the publishing world, he/she must be prepared to cater to that public opinion, more so than if they only want to show/sell original works in individual galleries/exhibits.
* Why did you enter the Art Dept contest and what decided your selection for entry?
I wanted to see how one of my more romantic and "serious" paintings would fare in front of an audience of my peers. "Warming Up" certainly encompasses that and a bit more.
* Is there anything about being an artist that you do not like?
Nothing, except the little bit of isolation that is associated with being the sole creator of works. Other than that, there's nothing I'd rather do.
* Would you sell your most favourite artwork, or keep it?
I would keep it.
* How important was education and training to you?
Extremely important. My formal training eliminated years of unnecessary experimentation and trial and error for me. The life experiences of 20-25 artists and instructors, whose guidance I will always cherish and utilize, were a blessing for me. I might add that it is very rare that I cannot recognize an untrained artist's work. It almost always "sticks out like a sore thumb".
* Is there anything in your art career that you would have changed?
I would have started earlier in life and been more disciplined and devoted.
Other than that, I am fairly satisfied with what I have done in the last 10 years.
* If you were invited overseas to exhibit your works, where would you like that to be?
I haven't thought about that much, to be honest. I would have to choose a European venue before any other, I suppose. Australia has always intrigued me as a country, but I don't know if my work would "fit", as it tends to be more American in flavour.
* Are you looking forward to entering the contest for next year?
Absolutely.
* Do you recommend use of the Internet for an artist's publicity?
Yes. I tell anyone who is looking to show and tell what they do to the world, that the Internet is the way to go. I believe an artist couldn't ask for a better exposure media. It's a visual and information tool that reaches every corner of the world in an instant, 24 hours a day, and you can't beat the price. Who could possibly ask for more of an ideal stage on which to perform? I devote an average of 2 to 3 hours a day seeking out marketing opportunities online, either directly through my own site or others.
* If you have sold works via the Internet can you describe how it went?
Very smoothly. Of course, I offer reproductions of my works as well as originals. People are able to purchase my prints online without even speaking with a sales person. I think it's a wonderful way to sell art and certain people who might be a little intimidated by talking with a sales person or even myself, are very comfortable ordering something this way. Of course, with the originals, it's a much more personal approach for obvious reasons. Usually I will receive an email inquiry about a specific painting's price. I don't put original prices online for various reasons, so it's necessary to provide a quote first. If the collector responds, then I know that they're genuinely interested. From there, it usually progresses to a phone conversation leading to the eventual sale of the work.
* Would you change anything about how the contest is organised?
Not being experienced in matters such as these, I really can't offer any advice worth considering. I don't know how much of a reach the contest has online, but exposure to as many avenues as possible is pretty important, obviously.
* How can the Internet be made better for working artists?
Tough question. I think it's just something that has to evolve over time. It is all still so new. I have noticed that more quality sites pertaining to art have come to the forefront over the past few years. Of course, these are sites that have invested large amounts of money to make that happen, and as a result, often ask for exorbitant fees to feature work on their sites. I never pay anyone to show my work on a site, and don't think anyone else should either. Offering to work on a commission basis should be acceptable to someone looking to sell one's work. Otherwise the incentive to promote that work is missing. I personally believe that every serious artist should have their own website. Again, it simply can't be beat for the price and the exposure it provides.
Thank you for the opportunity to share my thoughts with all of you. I also want to thank you for the honour of receiving your recognition for that which I work so hard to strive for.
Tom Sierak
Art Dept interviews the 2000 Prize Winners
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