I usually work in series, creating enough work to fill a room for an exhibition. So I might create 10 to 20 pieces that fall under a common theme. I do that two to three times a year, but at other times, I’m just creating work that allows me to experiment, to play with ideas, materials, and to explore new ways to tell a story with my art.

I’m currently exploring the idea of using recycled materials to create art. I recently saw a documentary that cited just how much our landfills are crowded with discarded clothing. I had no idea that the clothing industry was a leading polluter. I am playing with other ideas too. I am turning my shredded business documents into plaster of Paris, collage, and assembling sculptures with found objects. Again, I realize that others have done this very well before me, but I’m fascinated to see what I will bring to the experiment.

I was recently was speaking with a friend, who commented that he always finds my work to be positive, happy. I can’t say that I have ever created art with that in mind, but it is obvious that whatever emotions we are feeling come through our work. I found that particularly funny, because in an effort to find some gallery representation, I recently wrote to a gallery owner in Latvia. Most of those introductory letters go unanswered, but this gallerist wrote me a full page of comments. He told me categorically that he did NOT like my artwork, because it was too decorative.

I never really know how to respond to the “decorative” criticism. I assume that most people buy art because they find it pleasant, or inspiring, even uplifting. I can’t imagine many people purchase a piece because it is upsetting, ugly, or frightening. So what does “too decorative” mean? I know that I have never created a piece of art because I was trying to match a couch, or to try to sell in a department store.

The gallery owner went on to say that it was obvious that my art does not reflect enough pain and suffering. I laughed out loud, because it seems like such a stereotypical response from an East European. He continued to say that his fervent wish for me is that I would suffer a great deal of pain, as that would be the only way for me to improve the quality of my work. I’m not sure if that qualifies as a wish or a curse.

Let me hasten to say that I truly appreciate the fact that he not only answered, but spent the time to give me advice and guidance. He also made a very helpful observation that, with so many artists creating nonrepresentational abstract expressionist works, it makes it difficult for artists to distinguish themselves one from another. I get that. He’s right.

What I don’t understand is why feelings of sadness, pain, worry, or fear somehow carry more artistic value than joy, happiness, peace or contentment. If we artists should paint what comes from within, how could we deny the good feelings for the bad ones?

It’s funny, particularly at my age, I often wonder if part of why I want to paint is because I’m afraid of dying? I don’t have children, and there will be no one to visit my grave after I’m gone. And while I guess there may be an element of that in my brain, I don’t believe that is the driving force behind my art. I paint for myself. Painting allows me to communicate in a way that written language can’t. That’s what I am exploring, that’s what I hope my art will achieve. Having said that, becoming rich and famous would be wonderful, but mostly I just want to paint, and achieve enough success that I can actually live off of my art. To make enough money to allow me to continue creating for the rest of my days.

Be careful what you wish for. That's an old threat that actually has a great deal of meaning to me. I have recently been selected for a 28 day artist residency program at Art145 in Superior Arizona. If you would like to help, I'm running a GoFundMe campaign to help raise funds for the residency.

https://gofund.me/408ea00a1

I have been so humbled by the support people are willing to give. I have had a slew of friends and collectors who have chipped in, as well as a partial grant given by the International Association of Artists. Obviously Maya Barton at Art145 has been amazing, and even Jennifer Luria at www.dogcatmousemedia.com, who gave me permission to use the stunning photos of Superior and the surrounding desert. It may take a village to support an artist, but I've been blessed beyond my wildest expectations.

So I'm off to Arizona to create the next 20 paintings for my Panca Marga series that I will launch in the Fall, and I have no idea yet what those paintings will be. But it is that very angst, that mixture of fear and excitement that gives energy to my artistic practice. I can't wait, and I'll take you along on the adventure. Stay tuned.

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Ten cuidado con lo que deseas. Esa es una vieja advertencia que en realidad tiene un gran significado para mí. Recientemente he sido seleccionado para un programa de residencia artística de 28 días en Art145, en Superior, Arizona. Si deseas ayudar, estoy realizando una campaña en GoFundMe para recaudar fondos que apoyen esta residencia.

https://gofund.me/408ea00a1

Me siento profundamente agradecido por el apoyo que la gente ha estado dispuesta a brindar. Muchos amigos y coleccionistas han contribuido, así como una subvención parcial otorgada por la Asociación Internacional de Artistas. Por supuesto, Maya Barton en Art145 ha sido increíble, e incluso Jennifer Luria de www.dogcatmousemedia.com
me dio permiso para utilizar las impresionantes fotografías de Superior y el desierto circundante. Puede que haga falta todo un pueblo para apoyar a un artista, pero he sido bendecido más allá de mis expectativas más audaces.

Así que me voy a Arizona para crear las próximas 20 pinturas de mi serie Panca Marga, que lanzar é en otoño, y todavía no tengo idea de cómo serán esas obras. Pero es precisamente esa angustia, esa mezcla de miedo y emoción, la que le da energía a mi práctica artística. No puedo esperar, y los llevaré conmigo en esta aventura. Manténganse atentos.

People have been collecting objects they find beautiful, powerful, or valuable for as long as there have been people. We sent our dead into the afterlife with tombs filled with treasures. We looted conquered civilizations. We purchased, bartered, and stole art to build vast collections and museums.

Collecting is part of who we are.

An art collection has long been equated with success, stability, and cultural sophistication. Unfortunately, collecting art has always been sexier than making it. In a strange way, collectors often get more out of art than artists do.

Art collecting has traditionally been associated with high-net-worth individuals and seen as a symbol of wealth, culture, and refinement. But beyond status, collecting also creates community. Communities inevitably form around collecting, and those communities bring more than enjoyment, they influence value.

We live with art every day. It brings joy, inspiration, and a connection to the hand and mind of the artist. Art carries stories, intentions, and histories. These are qualities bonds and stock certificates simply don’t have.

Most people were introduced to collecting by someone they admired. Collecting is contagious. Rarely does someone walk into our studio alone to buy art. They bring a spouse, a friend, an advisor. It is as though they need someone to help justify buying the thing they love.

And often, the greatest returns on an art collection aren’t financial at all. They show up in the relationships you build, the artists and communities you support, and the legacy you leave behind.

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Resources:

• “Collecting Art: Why 36% of Investors Collect Fine Art - and 6 Reasons You Might Want to Start”. Maddox Gallery. Blog. August 21, 2025.
• Dillon, Andrew. “Why Do People Collect? The Psychologist’s View”. Art Basel. Blog. January 3, 2024.
• “Investing in Art: What to Know About Turning a Passion into a Purposeful Wealth Strategy”. RBC Wealth Management. Investing. Blog. May 2025.
• Pinto, Erik. “Buying Art Your Love: Why Personal Taste Should Drive Your Collection”. Medium. The Motivated Artist: Art, Money, and Mindfulness. Blog. May 6, 2023.
• Sorokowski P, Luty J, Małecki W, Roberts CS, Kowal M, Davies S. “The Collector Hypothesis : Who Benefits More from Art, the Artist or the Collector?” Human Nature. November 15, 2024.
• Thompson, Erin. “Why People Collect Art”. Aeon Magazine. August 23, 2016.
• “The Advantage of Art as a Passion Investment: 4 Key Benefits and Pleasures of Investing in Art”. Maddox Gallery. Blog. December 3, 2024.
• “Who Buys Artwork, and Why?” RevArt. Blog. April 18, 2023.

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John Bishop Fine Art is an art business run by visual artist John Bishop. John is based in Houston and he is an abstract painter and illustrator, a blogger, a vlogger, podcaster, and creative writer. John posts a weekly blog/vlog/podcast that creates a community, a conversation, between creatives in all sorts of fields at all sorts of levels.

John Bishop: http://www.johnbishopfineart.com

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Twitter: https://twitter.com/JohnBishopart

Patreon: https://www.patreon.com/johnbishopfineart