{"id":159369,"date":"2025-03-27T08:48:41","date_gmt":"2025-03-27T08:48:41","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/art\/level-up-your-next-art-show\/"},"modified":"2025-03-27T08:48:41","modified_gmt":"2025-03-27T08:48:41","slug":"level-up-your-next-art-show","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=159369","title":{"rendered":"Level Up Your Next Art Show"},"content":{"rendered":"


\n<\/p>\n

\n

<\/p>\n\n\n\n\n
\"make<\/a><\/td>\n<\/tr>\n
Make your next event count!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/b><\/p>\n

Spring is quickly approaching,
\nand with it comes a new wave of exhibitions and shows to showcase your work and
\nmake 2023 the year you promised yourself it would be. Make your exhibition
\nspace stand out with my tips on setting it up. Get ready to set your sights on
\nsuccess this show season.<\/span><\/p>\n


<\/span><\/p>\n

The past couple of years have
\nbeen challenging for the events industry with physical exhibitions having been
\nreplaced at least temporarily with virtual events together with the character
\nbuilding challenges that running any event online brings. It seems like forever
\nago that I last walked though the doors of a physical space to view artworks
\ndisplayed in booths but when I did walk through the entry gate recently at one
\nparticular event I was surprised by just how much had changed in the physical
\nevent space.<\/span><\/p>\n

If we were wondering what the
\nnew normal would look like in the world of brick and mortar exhibitions, I\u2019m
\nnot convinced we would have been able to predict the level of change that seems
\nto be taking place within them. The success of virtual events during the rather
\nlengthy hiatus in live events over the past couple of years seems to have
\ncarried over into the physical world with many events now often being
\nsimultaneously held in a physical space and broadcast live in the virtual
\nworld. <\/span><\/p>\n\n\n\n\n
\"abstract<\/a><\/td>\n<\/tr>\n
Waiting in the Sky by Mark Taylor – One of my most recent works!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Health and safety has always
\nbeen a priority, at least it has at well run shows and exhibitions, but event
\norganisers are still, thankfully, taking the pandemic seriously even if a lot
\nof people think it\u2019s finally over. One of the things that jumped out to me on
\nmy recent visit was that there was an abundance of things like hand sanitizer
\nstill available, and the event organisers were keen to make sure that everyone
\nfelt safe. That\u2019s a particularly important point because there are still many
\npeople who continue to be nervous about entering highly populated spaces,
\nparticularly when those spaces are indoors.<\/span><\/p>\n

Something else I noticed was
\nthat sustainability is now more of a thing. Historically, events by their very
\nnature are designed to be temporary and have often failed in their efforts to
\nbe fully sustainable. Displays, posters, handouts, the obligatory plastic
\nkeyring, a cheap plastic branded biro or a branded ceramic mug being given away
\nfor free, all have an environmental impact with everything being designed through
\nan ephemeral mindset. \u00a0<\/span><\/span><\/p>\n

At past events I\u2019ve witnessed
\npeople queuing up three deep for a free plastic keyring, I have no idea why
\nbecause it\u2019s not like anyone has ever used them. I dare say most of them from
\nprevious shows and events are now floating above some ocean reef these days.<\/span><\/p>\n

Something else I noticed and
\npossibly because the event was also being live streamed, was the increase in
\nthe use of technology. From digital displays rather than traditional vinyl
\nbanners right the way through to Virtual Reality experiences. Exhibitions and
\nevents really have matured to meet the expectations of the digital age we now
\nlive in and I think this really is just the start of how we will see technology
\nshape the way events are run in the future. <\/span><\/p>\n\n\n\n\n
\"astronaut<\/a><\/td>\n<\/tr>\n
Fly Me to the Moon by Mark Taylor – another new release!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Will live events evolve even
\nfurther in the next few years? I think so. There are so many technologies that
\ncould be used in events but so far have been absent. Regular readers will know
\nthat I have a passionate dislike for NFTs, or more specifically, non-fungible
\ntokens, yet it seems there are plenty of other artists who are seeing them as
\nsome kind of golden panacea. <\/span><\/p>\n

I\u2019m not a fan of buying a meme
\nand displaying it next to my small art collection, I do think the technology is
\ninteresting and has a valid place in the art world for some things, just not
\nfor the purchase of art. I think that it\u2019s a trend built on hype that manages
\nto both tokenise and trivialise art, and it really doesn\u2019t have the level of
\ntrust given that NFTs and cryptocurrencies are always in the news for the wrong
\nreasons. <\/span><\/p>\n

There\u2019s a lot of art out there
\nthat can already be purchased with NFTs, but we have to be honest and recognise
\nthat much of this NFT art would likely have little to no value in the
\ntraditional art world, and most of the work created by unknown artists without
\nany sort of curation simply fails to sell as an NFT, so my hope is that events
\ndon\u2019t begin to chase the NFT sale because that will put a huge number of
\npotential buyers off. <\/span><\/p>\n

Maybe that says a lot about
\nthe curation and quality of the art or maybe it’s a lack of understanding of
\nhow NFTs and digital wallets work alongside opportunistic attempts at following
\na trend, but there is an opportunity to take that technology and utilise the
\ntrue power of NFTs in a more considered way which could even be quite exciting.
\n<\/span><\/p>\n

There\u2019s a strong argument to
\nsell physical event tickets digitally though NFT technology, that would put
\npaid to the ticket touts buying up all of the tickets within minutes of them
\ngoing live and then reselling them on for a massive profit. <\/span><\/p>\n

My only other gripe with the
\nconcept is just how un-user friendly the process of NFTs and digital wallets is
\nbut if that problem could be solved by simplifying the process along with
\nbetter education of NFT technology, then at that point, NFTs could be the
\nanswer to some fundamentally complex challenges that require a level of
\nsecurity and validated provenance to fully resolve. Of course, there is a
\nsimpler way for events to make sure the touts don\u2019t buy up all of the tickets
\nand that would be to use a dynamic QR code that carries the identity of the
\noriginal purchaser and only ever allow resales through the events own ticketing
\nservice.<\/span><\/p>\n\n\n\n\n
\"abstract<\/a><\/td>\n<\/tr>\n
Polybius by Mark Taylor – Based on the legend that is Polybius, a mythological video game that was said to be located in Portland, Oregon in 1981!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Whilst the exhibition I recently
\nattended wasn\u2019t solely an art exhibition, the entire place was filled with
\nartworks for sale. I\u2019ve said it many times before, if you have a niche and you
\nneed eyes on your portfolio, you absolutely have to think outside of the box
\nwhen it comes to spending money on an event space. There\u2019s a simple question
\nthat I regularly use to gauge whether or not any investment in an event space
\nis worth making, and that question is, can I afford to not take my work to an
\nevent where I know buyers will be present?<\/span><\/p>\n

I know there are artists who
\nbaulk at the idea of exhibiting their work outside of traditional art spaces,
\nbut not every artist serves the same market and markets are diverse enough to
\nbuy from many different places. Some artists who take advantage of non-traditional
\nspaces can find that their income significantly increases from showing work at
\nthe point of footfall rather than limiting it to fewer people with even fewer
\nsharing an interest in a particular niche often mistakenly thinking that art
\nwill only be seen seriously if it sits behind a gallery door or it\u2019s on display
\nat a prestigious exhibition.<\/span><\/p>\n

Some of my best sales in the
\npast decade haven\u2019t come through typical art spaces, they have come from either
\nbeing a part of a community online or from showing my work in nontypical spaces
\nwhere I know people who are into the kind of work I produce attend. There is no
\ndark art to working out where those places are likely to be because they\u2019re
\nexactly the same places I like to look for artwork.<\/span><\/p>\n

For my landscapes (and yes, I
\nwill be creating more of them, when I find some time between commissions) my
\nbest outlets have always been high quality destination gift shops and for my
\nretro inspired artworks, the online retro community and vintage computer events
\nattended by collectors have always proven more fruitful than when I last exhibited
\nin a traditional gallery. If I had to change to gallery representation now, the
\nnumbers would need to work at least as well as they do in non-traditional
\nspaces and most traditional galleries might find that a difficult ask.<\/span><\/p>\n\n\n\n\n
\"abstract<\/a><\/td>\n<\/tr>\n
Polybius Redux by Mark Taylor – this piece looks as if it is positioned in front of the canvas through the use of shadows and colour, representing something that’s not what it seems.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

As artists, it\u2019s probably time
\nto begin thinking about our next event especially if we haven\u2019t attended one
\nfor a while. We might also want to think how we can capitalise on the growing
\ntrends that are emerging in the world of event management too. <\/span><\/p>\n

Whether that means becoming
\nmore digitally literate so that we can leverage the simultaneous live broadcast
\nor so that we can digitally enhance our show booths, we do have to think
\ncarefully about what buyers are starting to expect from physical event spaces and
\nwe have to respond accordingly to meet their new expectations. <\/span><\/p>\n

There\u2019s an inherent risk when
\nexhibiting that you will blend into the background like some bland wallpaper if
\nyou are doing what everyone else is doing. What has forever surprised me is
\njust how many exhibitors approach their event space design, very often without
\nany design standards in mind. <\/span><\/p>\n

Those who do think beyond the
\ncolour beige when it comes to having creative show space ideas will be the
\none\u2019s who stand out and we can often see this at shows like Basel, you either
\nhave an established brand\/name or you dress for the occasion and by that, I\u2019m
\ntalking about dressing your space appropriately and making it a more attractive
\nproposition for potential buyers to take pause. <\/span><\/p>\n

Unless you attend one of the
\nfree to enter shows that so rarely happen these days, you will be paying for
\nevery inch of space and often, the instinct will be to utilise every inch of
\nthat space and fill it with work. That could cost you, not only will you need
\nenough work to fill it which means there\u2019s an initial upfront outlay for you,
\nit often confuses the buyer when an artist takes along too much of their
\nportfolio which could consist of a few new works and a crate or two of unsold
\nworks in the hope of moving them rather than have them hanging around the
\nstudio. If you sell what you really intended to sell first, you could always
\nleave the filler until the last day when people are looking for last minute
\nbargains. If you fill the space to the rafters with work there\u2019s a real risk
\nthat so your event space becomes more like an interactive Where\u2019s Waldo for the
\nbuyer.<\/span><\/p>\n

If you are exhibiting, you really
\ndo need to choose a theme and firmly commit to it. Many shows and exhibitions
\nwill have a key theme but if it\u2019s a more general exhibition or trade show,
\nthere might not be any defined show themes or they might be only loosely
\nassociated with the context of the exhibition. If that\u2019s the case, then you can
\nreally make your space shine with the right theming.<\/span><\/p>\n

Rather than thinking about
\nyour space linearly along the lines of purely retail space, ideally, you need
\nto utilise every inch to create an experience rather than a live Pinterest
\nstyle content grid. Ding that can turn an exhibition space into a very chaotic
\nspace and it creates a heap more work for you to do. Events can be chaotic
\nenough without adding complexity, and my advice to anyone thinking of showing
\ntheir work to keep in mind that less is more. <\/span><\/p>\n

Where we can, we should be
\nminimising the workload, there will still be plenty to do but we can spend
\nmonths planning for our next event and still find that we\u2019re hanging work five
\nminutes before the show opens. Again, this lends itself to thinking about your
\nspace more from that design perspective instead of thinking of it purely as a
\nretail space.<\/span><\/p>\n

There\u2019s a risk in not planning
\nproperly in what you then hang next to what can have a negative effect on the
\noverall presentation. As a rule of thumb, hanging should never be thought of as
\na five minute task, nor should it be thought of as an incidental extra, what
\nyou hang and where you hang it needs some very careful and considered planning.<\/span><\/p>\n

Planning your space well ahead
\nof the event should help. You need to have some spatial awareness of just how
\nmuch space you will have when you get to the event so it\u2019s worth checking with
\norganisers to make sure what you think you have is what you will have on the
\nday, and its worth checking where in the event the space will be, will the
\nmajority of people be heading towards you from the left or right, things like
\nthis can make a difference to where you hang your best work. Once you have the
\ndimensions you can begin to formulate your hanging plan ahead of time. <\/span><\/p>\n

If you approach your layout
\nfrom a design perspective, maybe even set out works in the same kind of space
\nat home before you arrive at the event, things should then become a whole lot
\neasier on the day and it should minimise the workload and give you a little extra
\ntime pre-show opening to settle into your space and hopefully relax a little.<\/span><\/p>\n\n\n\n\n
\"Crisis<\/a><\/td>\n<\/tr>\n
Crisis by Mark Taylor – Created to raise awareness of a nursing and health service crisis in the middle of an economic crisis. Nurses are currently having to take industrial action in the UK to raise awareness to government that they do not earn a rate that meets increased inflation, but more than this, there is a serious staffing and resource shortage in the National Health Service that can potentially put lives at risk. Low paid NHS staff are having to rely on donated items from a food bank to feed their families despite being there for everyone during the pandemic. I wrote a short poem as the description which you can find on my Pixels website!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

If you need to frame your work
\nfor the exhibition it will pay dividends if you present your work in the best
\nlight but that doesn\u2019t always mean that frames need to be expensive. IKEA sell
\nsome good quality frames for very little money if you are looking for
\nunderstated. Your frame choice will need to be guided by the event, your IKEA
\nframes might be out of place at Basel, but they will likely be more than fine
\nfor local exhibitions or trade shows, although to some extent your choice of
\nframe will be determined by the artwork it will surround. You need to be
\nmindful of the costs and we\u2019ll touch on this in a moment. <\/span><\/p>\n

What have high-end art
\ngalleries got in common with the discount supermarket, probably more than you
\nthink and there are plenty of tricks and tips we can take from the behavioural psychology
\nof retail spaces to make sure our event spaces can leverage some of the same mind
\ntricks that make customers more readily reach for their wallets. <\/span><\/p>\n

Just how effective some of
\nthem will be in a small space is to be determined but there are proven tricks
\nhere that have been tried and tested and will work in an event space showcasing
\nyour art.<\/span><\/p>\n

If you are hanging your own
\nwork you really do have to consider how you will hang your work at the event.
\nFigure out what kind of wall or panel you will have and only use hanging
\nfixtures compatible with that wall. Some exhibitions have an absolute no nails
\npolicy or they won\u2019t allow you to make any marks on the wall. If you can\u2019t find
\nout what kind of material you will be supporting the work on, it is better to
\nalways assume that this kind of policy will be in place so it is worth taking
\nalong appropriate hanging fixtures designed to not leave any marks or that don\u2019t
\nrequire any drilling or nails. <\/span><\/p>\n

If you are a portrait artist
\nor feature faces prominently in your work, make sure when you hang the work the
\neyes in the work are at eye level with the viewer. This might sound slightly
\nstrange but it\u2019s a trick that supermarkets use all of the time, if you make eye
\ncontact you quickly form a connection and this has been proven time and time
\nagain by galleries who regularly place portraits on their walls. <\/span><\/p>\n

In supermarkets you tend to
\nfind cereal boxes that include cartoon characters will be placed at eye level
\nwith children in the hope that this placement attracts pester power. The
\npsychology in play through retailers and how they leverage these kinds of
\nthings is something that we probably shouldn\u2019t ignore because they have entire
\nteams that often include behavioural psychologists who have nailed the art of
\nstock positioning. <\/span><\/p>\n

Generally, you have to make
\nsure that your best works are hung at between 57 and 60 inches from the floor
\nstood on by the viewer, this too is roughly at eye level but the measurements
\nare an approximation of the average height of a persons eyes. Bear in mind that
\nsome show spaces may have a step between the viewer and the work, so the height
\nshould be taken from the floor before the step if the viewer is not expected to
\nstand on the step to view the work. What you will find is that works where the
\nviewer is expected to step up will be slightly higher than those they view from
\nthe main floor. In short, try to keep everything at eye level in relation to
\nwhere the viewer is more likely to stand.<\/span><\/p>\n\n\n\n\n
\"calculator<\/a><\/td>\n<\/tr>\n
Calculated by Mark Taylor – back to my retro works, this time a hand drawn and painted calculator watch with my typical realism applied! The background is a nod to the big news stories of the 1980s.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Supermarkets always put fresh
\nfruit and vegetables near to the entrance of their stores. Logically, it makes
\nno sense at all as fresh fruit and vegetables placed into the bottom of your
\nshopping basket can fall victim to bruising and crushing as you place more
\nitems on top. There is a specific reason that supermarkets do this though and
\nonce again, it\u2019s all about consumer psychology.\u00a0
\n<\/span><\/span><\/p>\n

They give the illusion of
\nhealthiness at the start of your shopping trip and that has the knock-on effect
\nof uplifting people\u2019s moods. Fresh flowers are always close by and the floral
\nscents emanating from the displays do the same thing. <\/span><\/p>\n

If you paint landscapes or
\nflorals, making sure that you have a bunch of fresh fragrant flowers as part of
\nthe display will discretely bring those nature inspired images to life and it
\nwill hopefully elevate a buyers mood and put them in a mindset of buying rather
\nthan just looking. I guess the question is, does it really work? <\/span><\/p>\n

I\u2019ve tried this whenever I
\nhave exhibited my landscape works and whilst I haven\u2019t got a clue about how one
\nwould scientifically measure success, I can say that every time I have placed a
\nvase or two of fresh flowers alongside my landscape works, the works have sold
\nbetter than without the flowers. It could be coincidence, but given that it is
\na trick that big retailers use there is probably some merit in doing this.<\/span><\/p>\n

An event space is not a
\nsupermarket. Collectively the entire space of the event might be similar in
\nterms of size and many of the other tricks employed to encourage and drive
\npositive consumer interactions might have a place throughout the wider event,
\nthe space provided for an exhibitor will only lend itself to some of the
\npsychological tricks large retailers use.<\/span><\/p>\n

In a larger space with
\nmultiple products such as a supermarket, certain popular items are hidden away
\nso that the buyer has to walk around the supermarket to find them, eggs being a
\nclassic example. As an exhibitor, you might only have a single line of products
\nto display, but if you do have something to offer that is popular, it is worth
\nplacing this so that the buyer has to navigate other products first. <\/span><\/p>\n

You also need to understand
\nwhat motivates people to stop at your space. Are they intrinsically motivated
\nand base their buying decisions on practical need or are they extrinsically
\nmotivated and make purchases based on external factors such as value and style.
\n<\/span><\/p>\n

Understanding these motivators
\nwill inform you on how you should be dressing your event space. Whilst many
\nthings motivate buyers to make art purchases, all of the motivators broadly
\nfall into two categories. Product motivation which are factors that drive a
\nbuyer to choose a specific artwork, and patronage motivation, which is why a
\nbuyer chooses a particular artists work over anyone else\u2019s.<\/span><\/p>\n

You can break those categories
\ndown even further \u00a0<\/span>and there are plenty
\nof useful resources on the internet that take deep-dives into the psychology of
\nbuyer and they\u2019re worth taking a look at before you attend the event because
\nhow you dress your event space can sway some of those motivations and hopefully
\nyou will be able to sell more art.<\/span><\/p>\n\n\n\n\n
\"1980s<\/a><\/td>\n<\/tr>\n
Class of 86 by Mark Taylor – I have created a series of works within my Retro Revival Collection to celebrate the birth of the LCD watch and the miniaturisation\u00a0of electronics, making them more affordable to the masses!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Physical events are definitely
\nmore high-tech than they were a few years ago and as I said earlier, there is
\nan expectation from buyers that event spaces are able to adapt to the new digital
\nbehaviours that we have all picked up from the need for remote working over the
\npast couple of years.<\/span><\/p>\n

For the exhibitor, high-tech
\ncan often translate to high spend and that\u2019s a problem in a world that is
\nfacing so much economic uncertainty and this introduces a dilemma for artists
\nwho want to take their show space to the next level but may not be ready or
\nexhibit often enough to make major investments in technology.<\/span><\/p>\n

If we look at the ways in
\nwhich shows are evolving, namely in that they are beginning to become much more
\ndigitally focussed and at the same time placing sustainability front and centre,
\nthere are plenty of things we can do to dress up our event spaces so that we
\nstand out without breaking the bank too much. It\u2019s worth bearing in mind that
\nit\u2019s not just the physical look of a space, event organisers are \u00a0<\/span>also focussing in on health and safety, even
\nmore so post-pandemic, so having hand sanitiser available could be useful, just
\nmake sure it doesn\u2019t leave a sticky residue that might adhere to anything
\npeople will pick up, you definitely don\u2019t need alcoholic based hand cleaner
\nleaving a mark on your finest works. <\/span><\/p>\n\n\n\n\n
\"retro<\/a><\/td>\n<\/tr>\n
Back In Time by Mark Taylor – each of the watches are available as individual artworks or you can collect the set with a single piece! Timeless?<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

I don\u2019t think the days of
\nvinyl and fabric banners and traditional signage are coming to an end, they are
\nstill useful and they\u2019re effective ways to communicate but there are more
\nimpactful alternatives that might be more suited to modern event spaces,
\nparticularly if they\u2019re only going to be utilised a limited number of times. It
\nmakes zero sense to spend money on providing impact through signage if there is
\nlittle value in reusing it. This is where digital signage has the edge.<\/span><\/p>\n

A digital display can change
\nmultiple times per day, it can be used to convey any number of messages such as
\ndetails about the work or it could even provide glimpses into the social proof
\nthat defines the value of your work. There are other uses too, particularly if
\nspace is at a premium. The smallest exhibition space I have ever worked in was
\naround eight feet by six feet, hardly the space needed to place more than a
\ncouple of my large format works and a 32 inch monitor provided a useful proxy
\nfor many works in my back catalogue. <\/span><\/p>\n

I tend to utilise digital
\nsignage wherever I can to overcome space issues and not only is it more cost
\neffective overall, it is more sustainable than reprinting new signage between
\nevents. I tend to not show my work at events all that often so any signage I do
\nuse is more likely to be out of date when the next event rolls around. With
\ndigital signage it can be updated for each event without additional expense.<\/span><\/p>\n

My primary artwork subject is
\nbased on technology and life from the 1970\u2019s, 1980\u2019s and 1990s, which gives me
\nplenty of options to turn any show booth into its own art installation. My
\nlandscape and abstract works provide less of an opportunity to do this,
\nalthough as I said earlier, flowers make a difference, but essentially, any
\nsubject can take advantage of some form of digital signage to add some impact
\nto your space.<\/span><\/p>\n

For my retro inspired works, I
\ntend to use some old CRT TVs and monitors to display other works in the series,
\nit\u2019s a real nod to nostalgia and they are frequently a talking point that help
\nwith starting those all-important conversations. Any information is displayed
\nusing typical 8-bit fonts from the 1980s home computers, and to make it into a
\ncomplete experience I often bring along a vintage computer that people can get
\nhands on with which has the added benefit of providing plenty more opportunity
\nto engage with visitors and have a discussion around the merits of the old
\ncomputers that feature in some of my works. <\/span><\/p>\n

For added impact I usually add
\na couple of props such as a Walkman, a Mini Disc player, and some old
\nelectronic toy games, as a retro collector I already have access to these but
\nthey can be picked up from yard and boot sales relatively inexpensively when
\ncompared to what they go for on platforms such as eBay. <\/span><\/p>\n

The signage is driven by a
\nmodern laptop that is hidden away, the connectivity is handled by a number of specialist
\ncables and interfaces designed to connect modern devices to older display technologies
\nwhich tend to have either RGB or S-Video connectivity. I have now even set up a
\nRaspberry Pi device that I had sitting around after replacing it with a shiny
\nnew Pi 400, and I have to say that there\u2019s a heap of choice for free digital
\nsignage software to run on these things and it\u2019s often as good as the full
\nblown commercial offerings, all for less than $40 or so!<\/span><\/p>\n\n\n\n\n
\"arcade<\/a><\/td>\n<\/tr>\n
One Life Left by Mark Taylor – this piece celebrate the arcade flyers of the 80s, ephemera that would encourage arcade owners to buy into an arcade cabinet, sometimes these cabinets were bootlegs of original games. This was hand drawn and painted over a period of around 50 hours!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

The good news is that those
\ncables are fairly inexpensive as they\u2019re made today for the retro computer
\nmarket, often they are used to connect devices such as the Raspberry Pi or
\nMiSTer FPGA to older displays because the image quality when viewing vintage
\nsoftware is much better than viewing it on a modern display with its
\nanti-aliasing shenanigans and 4K resolutions. There will be expensive options
\nwhen it comes to some cables that connect certain devices to certain displays,
\na composite cable for the Nintendo 64 was around ten bucks at launch is going
\nto set you back a hundred and fifty today, but there ae usually good
\nalternatives to be found at much more reasonable prices. <\/span><\/p>\n

The other good news is that
\nCRT TVs and monitors are pretty much never used beyond the retro computer scene
\nand people who never use vintage technology tend to throw or give them away or
\nsell them cheaply on Facebook Marketplace, unless it\u2019s a Sony PVM monitor, in
\nwhich case, a once $30,000 monitor will set you back around $1,000 – $2,000 used,
\nbut you wouldn\u2019t want to carry that beast from the car park. Beautiful piece of
\nequipment though!<\/span><\/p>\n

Cathode Ray Tube displays can
\nhandle retro really well and give an authentic vintage feel, but what do you do
\nwhen you need modern digital signage and displays? <\/span><\/p>\n

You could hire professional digital
\nsignage, the downside is that can be as expensive as vinyl and fabric banners
\nfor a one off show and you will need to book it as early as possible and well ahead
\nof time, but it is more sustainable and more impactful. Often, hired technology
\nhas the advantage that someone who knows what they\u2019re doing will also come
\nalong and set it all up but there\u2019s a cost that\u2019s often bundled in with the
\nrental costs making hiring prohibitive for smaller shows.<\/span><\/p>\n

Equally, you could use a good
\nquality TV or monitor, nothing you use needs to be overly expensive, you
\ncertainly wouldn\u2019t need anything too technical because there\u2019s more that could
\ngo wrong, and again, places like Marketplace and even eBay can be a good source
\nof bargains. If you use multiple displays, it\u2019s always a better aesthetic if
\nyou use a single model from a single manufacturer but if that\u2019s not possible,
\nthink about respraying the plastic bezels so they at least look broadly similar.
\n<\/span><\/p>\n

One of my artist friends went
\nas far as gaining sponsorship from a local TV and homeware retailer on the
\ncondition that he displays a small advertisement showing the retailers name and
\nby doing this he can usually borrow some of the best demo units the retailer
\nhas. His last event included a beautiful 65inch 8K TV to display his work on.<\/span><\/p>\n

We\u2019re not all going to be
\nquite so lucky with our approaches to sponsorship, but it\u2019s certainly worth a
\ndiscussion with an independent retailer. Just make sure that your insurance
\ncovers anything that could go wrong, those shiny new 8K displays are still
\nprohibitively expensive for most people.<\/span><\/p>\n

There are a couple of
\ndownsides to digital signage, namely, transporting it, and wherever you exhibit
\nyou will need access to a power supply but when you think about the
\nopportunities to drive home your branding using something as simple as a
\nPowerPoint slide deck, or the ability to display other works that you can\u2019t
\nphysically display due to space restrictions together with the more impactful
\nexperience it can provide, it is a trade off that could be worth making. There
\nis an important tip here, if you do use a PowerPoint slide deck, leave out the
\nbullet points, it\u2019s an exhibition not a board meeting.<\/span><\/p>\n

If you are in a smaller space
\nor don\u2019t have access to lots of power, there\u2019s a simple solution that is likely
\nsitting in a box in the attic! Remember those digital photo frames that were so
\npopular about a decade ago, they can be repurposed and in some cases, the bezels
\nof those devices can be resprayed to match your theme too. If you no longer
\nhave one sitting around, eBay is awash with them, as are thrift stores and
\ncharity shops. It’s yet another old technology that has a modern day use that
\nfew people tend to think about. Even old tablet devices are capable of showing
\nphoto transitions, another reason why you need to hang on to old technology if
\never there was one!<\/span><\/p>\n

While we are on the subject of
\ntablet devices, don\u2019t forget to sign up to any of the email marketing services
\nthat allow you to author and send out marketing emails. People tend to avoid
\nwriting their email address down on paper but for some reason they do seem to
\nlike entering their email address on a screen and especially if there is a
\nchance to win a prize. Perhaps because that\u2019s something we are more familiar
\nwith doing but not doing this as an exhibitor is a real missed opportunity in
\nan event space.<\/span><\/p>\n\n\n\n\n
\"abstract<\/a><\/td>\n<\/tr>\n
Vantage Point by Mark Taylor – I love these retro colour schemes!\u00a0<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

If a potential buyer wants to
\nhave a conversation with me, I have learned over the years that I definitely need
\nto break down any potential barriers and make everything as easy as possible
\nfor the buyer to approach me. If your space is cluttered with leaflet stands
\nand they feel like they need to navigate an assault course just to ask you the
\nprice of something, mostly, people will move on without asking and without
\nbuying. <\/span><\/p>\n

Clutter isn\u2019t just about boxes
\nof leaflets and plastic giveaways though, people clutter spaces just as much.
\nIf you have a small space then you probably won\u2019t need an entire army manning
\nthe tote bags. People, and don\u2019t get me wrong, I actually like some people, but
\npeople are intimidating when they\u2019re in a group. If you do need help on the
\nday, make sure everyone has a defined role, stays out of everyone else\u2019s way and
\nwherever you can, try to keep your helpers limited in number.<\/span><\/p>\n\n\n\n\n
\"retro<\/a><\/td>\n<\/tr>\n
Neon Nights by Mark Taylor – clean 80s colour scheme looks brilliant on my soft furnishing range! It’s bold, beautiful and oh so 80s!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

With all of the emerging
\ntrends and a desire to stand out, there are some inherent risks that by
\nachieving the next level of wow, you inadvertently overcomplicate your space.
\nOver use of any technology in any space carries the very real risk that it can
\nfrighten people off. If you have a bank of monitors showing multiple images
\nthere\u2019s a danger that rather than looking like an art exhibition booth, it ends
\nup looking like the control centre of NASA which might be fine if your
\npaintings feature the Apollo rockets, not so fine if you paint portraits of
\npets.<\/span><\/p>\n

Digital signage has plenty of
\npositives, especially for accessibility. I\u2019ve even seen rolling video of the
\nkey message with a sign language interpreter in the corner but you don\u2019t need a
\nlot of technology to make an impact. Minimalism looks way more elegant than
\nclutter, it also adds to an air of luxury so that prices can be more representative
\nof the artworks worth.<\/span><\/p>\n

Something else to bear in mind
\nis that digital technologies do not provide complete solutions, rather they
\nprovide possibilities, especially in efficiency and intimacy. Don\u2019t expect a
\ndigital sign or any other kind of sign to turn poor fortune around completely,
\nat least not when it\u2019s used without both a digital mindset and a strategy. If
\neither of those are flawed, or the messaging you display on the signage is
\nflawed, digital will only serve to magnify those flaws and expose them publicly
\nto anyone who walks past your space.<\/span><\/p>\n

The other risk is that you go
\nso far down the digital event rabbit hole in an attempt to compete with those
\nwho will always have the funding to do it better, or you end up competing with
\neveryone else who is trying with a limited budget, at which point you\u2019re back
\nto the problem of merely blending in rather than standing out. Think of using
\ndigital signage as a tool, apply a design mindset to your space, and that
\nshould ensure more than anything that you achieve the goal of ultimately making
\nyour space stand out.<\/span><\/p>\n\n\n\n\n
\"1980s<\/a><\/td>\n<\/tr>\n
Pop Watch by Mark Taylor – another retro work, this time a nod to those fashionable Swatch Watches that demanded you collect the set!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Just occasionally the art Gods
\nlook down and we get to pick where our event space is located at an event. More
\noften we will be given a space depending on theme or medium, but when you do
\nhave a choice it is worth thinking it through before you fully commit. <\/span><\/p>\n

There are a few decisions you
\nwill need to make, is the location next door to someone who sells the same kind
\nof work, is it within eye contact distance of any breakout or rest areas, that
\ncould be handy as groups of potential buyers tend to mingle in those spaces,
\nand will you be lost with your small space if you are in between two larger
\nexhibitors?<\/span><\/p>\n

The question of location
\ndoesn\u2019t just cover the internal layout of the event, you have to consider the
\nlocation of the event and whether it is in commutable distance of your intended
\nmarket. Any good event organiser who has run these kinds of events before
\nshould be able to provide you with at least a little comfort from previous
\nvisitor demographics. <\/span><\/p>\n

What age group is your market,
\nare they likely to attend this event, is the event theme suited to your work,
\nand what kind of footfall can you expect on the day. These are all questions
\nthat you should be asking before paying for space at any event and if the
\nnumbers seem off, it might be best to skip the event entirely and find
\nsomething that\u2019s more suited to you and your work.<\/span><\/p>\n\n\n\n\n
\"1980s<\/a><\/td>\n<\/tr>\n
Little Black Watch by Mark Taylor – these watches were popular in kit form during the 1980s! Hand drawn, total time to complete, around 40 hours!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Artists and collectives of
\nartists will frequently venture onto the path of self-hosting an art show, and
\nwhilst this is a great idea it\u2019s also more work than you might at first
\nimagine. One of the biggest challenges you will face is finding a suitable
\nvenue that is affordable. Premium event spaces carry a premium cost and that
\nmight not be doable even when you are splitting any up front costs with a
\ncollective of artists.<\/span><\/p>\n

There are plenty of affordable
\nspaces in most towns and cities, community centres, local authority owned
\nspaces (although recently some of these have become just as expensive as dedicated
\nspaces so you do have to do your homework), and pop-up shops. Certainly here in
\nthe UK when a retail shop closes down, the owner of the property can find
\nthemselves paying additional taxes for leaving the premises unoccupied, so
\nrenting the space out keeps not only the dust away, it can also mean that the
\nowner pays less in taxes or business rates because the premises are occupied
\nfor a period of time.<\/span><\/p>\n

Most towns and cities with a
\nvibrant gallery scene will also rent out exhibition space, but you have to be
\ncautious that they\u2019re not operating as vanity spaces where you essentially pay to
\ndisplay your work. You also need to keep an eye open in case they\u00a0 <\/span>start bundling in additional costs for staff,
\nor to open any catering space. Some will also insist on you using specific
\ncaterers. <\/span><\/p>\n

Some galleries exist solely by
\nrenting out their entire space to vanity events but art professionals will know
\nthat the events held in these spaces are just ways for the space to make money.
\nYou\u2019re less likely to then attract art critics or journalists to the event.<\/span><\/p>\n\n\n\n\n
\"harlequin<\/a><\/td>\n<\/tr>\n
Vintage Harlequin by Mark Taylor – this piece looks brilliant on cushions and duvets as well as in print!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

If there is one thing I have
\nlearned from exhibiting over the years, it\u2019s that events are seldom as
\ninexpensive as you think they will be. Exhibitions set out to achieve one
\nsingle goal which is to extract as much money as possible in the shortest
\namount of time. It doesn\u2019t matter if you are attending as a buyer or as an
\nexhibitor. <\/span><\/p>\n

Just attending as an exhibitor
\nmeans that you have to financially plan on covering the event costs and also
\nyour own costs, food is notoriously expensive at most events where it\u2019s not
\nprovided. If you need food or drink and you probably will as you are mostly
\nhuman, you have to expect to pay a premium. If it\u2019s a local show, unless there
\nare specific rules about bringing your own food, take along your own
\nprovisions. Your aim should be aligned to the core mission of the event, and
\nthat is to extract as much profit and value out of the time you are exhibiting
\nas possible so that you at least cover your costs.<\/span><\/p>\n

If display stands are not
\nincluded in the price of exhibiting, this is something else that you will need
\nto think about. You have options here, you can either rent modular displays
\nwhich can be increased or decreased in size, or if you attend on a regular
\nbasis, then purchasing a modular display system might be more cost effective
\nbut these are not inexpensive, modular units usually carry a cost premium.<\/span><\/p>\n

What you absolutely don\u2019t want
\nto be doing is turning up to an event with a decorators table and duct tape.
\nWe\u2019ve all seen those kinds of spaces. If you decide to hire a solution, make
\nsure that you do this as early as possible, hire charges tend to increase
\nrapidly just before an event and you don\u2019t really need the added pressure of
\nsourcing it at the last minute or wondering if it will arrive in time. It\u2019s
\nalso worth considering insurance to cover your costs if the event is cancelled
\nand just in case the event doesn\u2019t have its own public liability insurance in
\nplace.<\/span><\/p>\n

Personally, I would forget
\nabout bringing along boxes full of giveaways. It might be better to spend a
\nlittle extra on turning your business cards into miniature artworks and use
\nenvironmentally friendly materials instead of offering the obligatory keyring
\nand pen. <\/span><\/p>\n

A lot of galleries, especially
\nthose in the cruise ship industry offer prize draws in return for visitor
\ndetails. Usually the prize is a print or a painting that\u2019s relative in value to
\nthe prestige of the event, but bear in mind that this is a cost that comes out
\nof your bottom line and offering a ten dollar print might not attract that many
\npeople.<\/span><\/p>\n

If you get the opportunity to
\nexhibit at Basel, take it, no matter how far away you are but the majority of
\nworking artists won\u2019t ever find themselves in that kind of space. There is a
\ntrain of thought with exhibitions that you should try to punch up above your
\ncurrent demographic, but that is a risky strategy unless you can afford to
\nspend the time at the even and spend the money to be an exhibitor in a more
\nprestigious space. <\/span><\/p>\n

Personally, I tend to stay as
\nlocal as possible. This negates the need to book hotels which usually add an
\nevent tax in the form of increasing their prices whenever an exhibition is in
\ntown. Staying local also takes a lot less effort to get there and you don\u2019t
\nthen have anywhere near the same transport and shipping costs or the worry that
\nyour inventory will arrive damaged. I\u2019m also picky about the demographic of the
\nevent, if it\u2019s of no interest to the type of buyers I have, there is then no
\nguarantee that I will make a sale let alone cover the costs. To be totally cold
\nabout it, if I can\u2019t make an event pay, I\u2019m not turning up as an exhibitor,
\nvanity doesn\u2019t pay the bills, but there might be longer term benefits that you
\nmight want to consider, it\u2019s also about the sales you make tomorrow. <\/span><\/p>\n

If there are options to set up
\nearly, even if there is an extra charge for doing so, those charges usually
\ninclude someone else taking your stand from the entrance to the event space.
\nSome exhibitions will charge a drayage fee, and they usually charge based on
\nweight. If your total weight is even slightly over the limit, you could be
\ncharged at a higher rate. Drayage usually covers taking your exhibition stand
\nand inventory from the entrance to the show space so that could potentially
\nsave paying for additional help. It\u2019s worth bearing in mind that drayage is
\nusually charged over and above the exhibition fee and often this work is
\noutsourced to non-event staff so make sure it includes insurance. <\/span><\/p>\n\n\n\n\n
\"1980s<\/a><\/td>\n<\/tr>\n
Welcome to the Future by Mark Taylor – I was surprised I pulled this one off! It took an insane amount of time to create the strap – Love metallics but they’re incredibly difficult to paint when only using a stylus and no short cuts!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

In my experience, there are three
\ntypes of Wi-Fi access you can get in an exhibition space. <\/span><\/p>\n

Free Wi-Fi<\/i><\/span><\/b> –
\npotentially shared by thousands of people on an unencrypted and unsecure
\nnetwork, not something you should be relying on if you need to use the internet
\nto take card payments. <\/span><\/p>\n

Exhibitor Wi-Fi<\/i><\/span><\/b> \u2013
\nwhere you pay by the day, week, hour, and you tend to pay a high fee for an
\ninternet connection that might not be all that robust, it might still present
\nsecurity issues, and there\u2019s always a chance that you find yourself in a
\nwireless not-spot rather than a hot spot.<\/span><\/p>\n

Your own connection<\/i><\/span><\/b> \u2013 you
\nare in control. \u00a0<\/span>If you have a data plan
\nthat includes tethering, this might be your best and most reliable option. The
\ndownside is that you will be reliant on a cellular signal that might be too
\nweak to use, and if you take your phone to lunch and your helper needs to take
\na payment, you could lose the sale.<\/span><\/p>\n

My advice to anyone who
\nchooses to use a public Wi-Fi system is to always use a Virtual Private Network
\n(VPN), that will ensure that customer data can be better protected. You can
\noften sign up for trial periods for VPNs but a word to the wise, some of these
\nVPN services aren\u2019t that secure. There are VPN services available that really
\ndo make a bad situation worse, so only ever use trusted VPN software and
\npurchase it through a trusted supplier, and check if there are limitations that
\nmight restrict you doing what you need to do, some won\u2019t allow tethering to
\nother devices such as a card machine.<\/span><\/p>\n

Power will likely play a big
\npart in your space, whether it is to provide lighting so you can show your work
\nin the best light, or to charge your phone or run displays, any power needs have
\nto be considered early on.<\/span><\/p>\n

Some events will charge an
\nadditional fee for power, some have smart meters installed and you pay by each
\nunit of electricity that you use, but there are still a few events that include
\npower charges in the price you pay for the space. You could take a portable
\npower bank, but these can be expensive even to hire.<\/span><\/p>\n

Many event organisers now
\ninsist on portable appliance testing, if you don\u2019t have a certificate already
\nyou might have to pay the event hosts to carry out this work for you, although
\nsome provide it as a service and include the cost within the cost for the
\nspace.<\/span><\/p>\n

It\u2019s always worth taking along
\nextra extension sockets, cable ties, and duct tape so that you can at least
\ntape down rogue cables but you should also make sure that you are not
\nintroducing a trip hazard. I often use a rubber cable cover that fits over the
\ncable, is brightly coloured, but provides a slight slope over the cable. At least
\nwith this there is less chance of tripping over it and less chance that
\nequipment will be pulled down onto the floor and damaged. Some exhibitions will
\nhave these items for sale if you are missing anything, but if you think the
\nfood is expensive, ask them for a price on an extension socket. <\/span><\/p>\n\n\n\n\n
\"ocean<\/a><\/td>\n<\/tr>\n
Ethereal Seas by Mark Taylor – expect more landscapes soon, I have four in various stages of non-completion!\u00a0<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

\u00a0<\/span>By paying a little less to frame some of your
\nworks you could then invest a little more in other pieces which could benefit
\nfrom a much higher quality frame. I tend to stick with a simple white wood frame
\nwherever I can but do tend to take frame samples along to any event so that
\nbuyers know they have a choice. These can be useful to encourage the
\nall-important upsell.<\/span><\/p>\n

Thrift stores, Facebook
\nMarketplace and eBay can often be the source of good quality frames but you do
\nhave to make sure that the frame you use is firstly, the right size, and
\nsecondly, isn\u2019t damaged. Beyond that, any frame you use shouldn\u2019t detract from
\nthe work, there\u2019s nothing worse than someone looking at your best work and then
\nsaying, that\u2019s a nice frame and ignoring the work it contains. <\/span><\/p>\n

Even at a trade show you
\nshouldn\u2019t drop your standards or think that you can get away without an artists
\nstatement. I know this is up there with the worst jobs an artist will ever have
\nto undertake, I\u2019ve never met an artist yet who likes writing these things, but
\nthey are kind of expected, kind of essential, and they will add some value to
\nthe overall experience of buying your work.<\/span><\/p>\n

1.\u00a0\u00a0\u00a0 <\/span><\/span><\/span>Define
\nyour vision: Before you start organizing your exhibition, it’s important to
\nhave a clear vision of what you want to achieve. Consider what kind of art you
\nwant to showcase, who your target audience is, and what message you want to
\nconvey.<\/span><\/p>\n

2.\u00a0\u00a0\u00a0 <\/span><\/span><\/span>Choose
\na venue: Once you have a clear vision, you can start looking for a suitable
\nvenue for your exhibition. This could be a local gallery, community centre,
\nlibrary, or any other public space that is suitable for displaying art. Make
\nsure to consider the size and layout of the venue, and make sure it meets your
\nneeds.<\/span><\/p>\n

3.\u00a0\u00a0\u00a0 <\/span><\/span><\/span>Invite
\nartists: After you have secured a venue, you can start inviting artists to
\nparticipate in your exhibition. Consider reaching out to local artists, art
\nschools, or artists’ organizations to help you find artists who are interested
\nin participating.<\/span><\/p>\n

4.\u00a0\u00a0\u00a0 <\/span><\/span><\/span>Plan
\nthe exhibition: Now that you have your venue and artists, it’s time to start
\nplanning the details of your exhibition. This will include choosing a date,
\norganizing a reception, planning a walkthrough or artist talk, and coordinating
\nwith the venue on any additional details such as lighting, signage, and other
\nlogistics.<\/span><\/p>\n

5.\u00a0\u00a0\u00a0 <\/span><\/span><\/span>Market
\nyour exhibition: To ensure that your exhibition is well-attended, it’s
\nimportant to market it effectively. Consider creating a promotional flyer,
\nsending out press releases, and utilizing social media to spread the word. You
\ncan also reach out to local newspapers, art blogs, and other media outlets to
\nhelp promote your exhibition.<\/span><\/p>\n

6.\u00a0\u00a0\u00a0 <\/span><\/span><\/span>Host
\nthe exhibition: On the day of the exhibition, make sure to arrive early to set
\nup and prepare for the event. Greet visitors as they arrive, provide them with
\ninformation about the artists and their works, and ensure that the exhibition
\nruns smoothly. After the exhibition, take some time to reflect on the
\nexperience and consider what you could do differently in the future.<\/span><\/p>\n

By following these steps, you
\ncan set up a successful and memorable art exhibition in your local community. <\/span><\/p>\n\n\n\n\n
\"dry<\/a><\/td>\n<\/tr>\n
Glow Over a Dry Stone Wall by Mark Taylor – one from a few years ago, this work was hand painted using a digital medium, each rock was hand created, and it remains\u00a0one of my best selling works today!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Event spaces are not
\ninexpensive and adding unnecessary costs over and above the cost of the space
\nis something that you will want to avoid if you can. It\u2019s easy to be swept
\nalong in the initial excitement that exhibiting will bring, and it\u2019s that
\nexcitement that can often lead to making some really poor choices especially
\nwhen events organisers begin selling you their version of the upsell. No matter
\nhow well you think you upsell your art, experienced events teams have gone way
\nbeyond mastering this particular dark art. <\/span><\/p>\n

Mostly, exhibiting isn\u2019t
\nsomething that you need to have lots of experience in doing, you just need to
\nbe aware of the small details that will make you stand out and provide you with
\nmore chance of having a successful exhibition. Above all, you have to manage
\nyour own expectations around what is involved, events can be fun but they can
\nalso be incredibly testing. <\/span><\/p>\n

So long as you expect the days
\nto be long, the work to be somewhere in between a little more arduous and
\nextremely more stressful than your regular daily routine, and you also remember
\nto strike up conversations, the rest is pretty much more about applying a
\nlittle thought around the detail and not letting your heart overrule your head.
\nKeep this in mind at your next event and you might just find that your event
\nspace not only begins to pop but you might just make a few extra sales too!<\/span><\/p>\n

I am an artist and blogger and live in
\nStaffordshire, England. You can purchase my art through my Fine Art America
\nstore or my Pixels site here: <\/span>https:\/\/10-mark-taylor.pixels.com<\/span><\/a>\u00a0\u00a0 <\/span><\/span><\/p>\n

Any art sold through Fine Art America and Pixels
\ncontributes towards to the ongoing costs of running and developing this
\nwebsite. You can also view my portfolio website at <\/span>https:\/\/beechhousemedia.com<\/span><\/a> <\/span><\/p>\n

You can also follow me on Facebook at: <\/span>https:\/\/facebook.com\/beechhousemedia<\/a><\/span> where you will also find
\nregular free reference photos of interesting subjects and places I visit. You
\ncan also follow me on Twitter @beechhouseart and on Pinterest at <\/span>https:\/\/pinterest.com\/beechhousemedia<\/span><\/a> <\/span><\/p>\n

<\/p>\n

\u00a0<\/p>\n

<\/span><\/p>\n

\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

Make your next event count! Spring is quickly approaching, and with it comes a new wave of exhibitions and shows to showcase your work and make 2023 the year you promised yourself it would be. Make your exhibition space stand out with my tips on setting it up. 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