THE BUSINESS OF ART

Irish artists are finding a balance by crossing over into commerciality without compromising their creative swerve.

More than ever, talented Irish artists are emerging with an aptitude, either through their own perseverance to make it, or through a dedicated agent to attract the moneyed eyes of investors and the corporate world alike.

But what's it really like for emerging artists, who, let's face it, typically have to struggle enormously to get their name out there and usually with not a great deal of financial support at the outset. Even now, when a gallery holds an exhibition, it slurps up sometimes half of the commission.

But while galleries still remain the main vehicles for expose, surely there are other means out there?

It's a delicate balance. An artist yearning to remain an aesthetic creature, must survive the process with a minimum of grants and financial assistance and still attain a level of commercial success to sustain and continue their creative energies. Is this really possible?

Here we talk to two very different artists with distinct voices and who are both making strides in the commercial world while also not losing sight of their artistic vision. The first, Eileen and David Esler (a husband and wife team), create stained glass. The latter is the young, spirited artist, Rasher.

LET THE LIGHT IN

Craig Avon Area Hospital, David Esler

What is the key to the flourishing of artistic business in an apathetic society? Is it sheer doggedness or a lucky break? Romil Timbadia speaks to two veterans in the field, Eileen and David Esler.

Artistic businesses are always hard to start up and run due to lack of assistance. Add to this the hypothetical pain and suffering of a creative artist and you can get a whole new dimension on business obstacles.

The truth is, art as a business struggles with little support from the business world and even from the 'traditional art' community. While sadly, most of us don't fully utilise the creative side of our brain, here are businesses waiting to erupt with creativity and yet, all too often they are given little or no backing. This story, however, is about a team of entrepreneurs who have embraced and enhanced art and its trade into a fledging business flying smoothly despite turbulence. Husband and wife team, David and Eileen Esler have slowly and laboriously taken 'Leadlines,' their business of stained glass painting, to an elevated level of success.

BRINGING THE GLASS ALIVE

In this day and age, businesses must be amended and modified in order to reach perfection. David Esler takes this maxim to the core of his work where his desire to make superior stained glass paintings involves continual alteration and modification. Apart from the artistic talent of course. Stained glass painting, increasingly sought after by many, is, according to David Esler, 'all about harnessing light.' "It's the reverse of painting in a sense. As light brings the stained glass alive, it is important to understand that the canvas that you create is ever changing," explains Esler. Esler and his team of eight skilled artists and craftspeople, including daughter Susanne, have worked on a myriad of projects. Some of the prominent ones include the Stormont Castle in Belfast, the Whitehouse Presbyterian Church and the memorial window erected at the offices of Castlereagh Council to commemorate the lives lost in the La Mon House Hotel bombing in 1978.

THE BEGINNING

Symbolism of Man, Fish and Bird at Stormont Castle, Belfast, David Esler

In the beginning it was Eileen Esler who started Leadlines with an idea of making the art of stained glass more accessible to the public. After some initial research, she realised that there was a gap in the domestic side of the craft and decided to take the plunge. David joined the studio in 1996 and brought in expertise and talent. With Eileen bringing in the domestic background and David, the commercial and enthusiastic background, the two were able to employ more staff and bring the business to a wider market.

IN DEMAND

Obviously the increasing demand for stained glass painting did help. Stained glass is now as likely to be found in offices, banks, hotels, airports and private houses as in ecclesiastical settings. With a rich heritage of stained glass from the Middle Ages to the present day to draw on, David Esler makes his own distinctive contribution to its evolution. Using the versatility of traditional techniques of painting, staining and enamelling, the artist has developed a very strong and distinctive style of work.

TAPPING INTO THE CREATIVE

SCENT OF AN ARTIST

Sand Stories Rasher

Emerging artist of the moment, Rasher is swiftly making strokes. He talks to Carmel Doyle.

The nickname Rasher has stuck with artist Mark Kavanagh since he was a child. Apart from a yearlong plc course at his local college in Bray, Rasher is a self-taught artist who has achieved commerciality. Rasher is certainly making his mark and not just on the Irish art scene. His exhibition, 'Into the Blue' is taking place in the infamous Chateau Marmont hotel in LA in early 2006 and is sure to be a further door opener. Already in demand from a stream of famous clients from Tom Cruise, Colin Farrell to Princess Haya of Jordan, how has Rasher managed to get his name out there so quickly? "I have a great agent Noel Kelly who is a visionary when it comes to art."

COMMERCIAL VENTURES

In 2004, Rasher was also approached by whiskey maker Jameson to do a commercial commission and has since completed many paintings for the brand. On the commission, Rasher elaborates, "I had never done anything else like this before and I will try anything once. It's a 200 year old brand and I am a 28 year-old man so I liked the contrast between old and new." Rasher has also painted a portrait of the late King Hussein of Jordan.

AGAINST ALL ODDS

Shutting himself away for twelve hours a day, six days a week, how difficult was it starting out in a world where artists still battle against fiscal odds to create? When he first brought up the idea of painting, Rasher says his father thought he was crazy and that he would never make a living out of it. "I mopped floors in supermarkets so I could paint during the day." Coming around to the idea, Rasher's parents allowed him use his bedroom as a studio. When Rasher first got accepted into a gallery, he remembers selling paintings to the gallery for £50 and was then able to buy more paint. He says that he produced a painting every two weeks so the money didn't go too far!

SIDE OF CAUTION

Girls On Bikes Rasher

Along the way has there been any entity that has given vital support? To avail of a grant from the Arts Council, an artist must write a proposal. "I basically didn't have the desire or time to do this but grants are available. The best thing for me is the artists tax exemption." Creating an average of 24 paintings a year, Rasher's works have increased in value with rising demand, yet the success doesn't seem to have gone to his head. Rasher says that he remains cautious with money. "I can't spend it because I never know when I am going to make another sale." The creative process is long. In a month I work nearly 300 hours on a painting. Then it needs to dry for six months before I can varnish it." When Rasher exhibits, the gallery takes 50%. With his LA exhibition, Rasher will be taking the gallery out of the financial loop.

COMMERCIAL SUCCESS

But would he still be an artist anyway even if he were not having commercial success? "When I started painting, I accepted that I would be doing it for the love of art. I eat sleep and drink painting." How about other artists out there today who still struggle to achieve commerciality even though they might be extremely talented? "Some artists have the talent but are very introverted. Fortunately, I can talk the hind legs off a donkey which makes things a bit easier for me."

ON THE GO!