Laura Thompson – The Florence Studio

Recently I had the opportunity of interviewing artist Laura Thomspon. Laura is a painter originally from Canada; together with her husband Frank Rekrut, an excellent sculptor in his own right, they run The Florence Studio of Florence, Italy. Located in the heart of the historic city, they offer fine art workshops and frequently host guest demonstrations from some of today's top realist artists.

Laura shares with us the story of how they became established, as well as tips for building professional relationships, getting your name out there, working with clients and galleries, and the important mindsets to have as a professional artist. 

Q. I always like to start off with the same question, because I believe it determines the entire direction of your career: What is your definition of success?

"An interesting question, and while a one-sentence answer is tempting, as it may be easier for your readers, I find it impossible to label in a word.

Success for us is the collective experiences of a lifetime and is ever-changing, but the principle we strive for is freedom…

Freedom to choose our work, where we live, those with whom we share our experiences, time with family (we're grandparents now!), achieving better results in our work each day, making a difference to our students – both their artistic work but also in their outlook on their lives and their possibilities…

In the end it is all these things that make for a fulfilling existence. But all of these take work, and in a way that is what makes it so satisfying. If it were easy, there might not be the same feeling of accomplishment and fulfillment.

…and yes, contrary to the popular belief, some of these objectives require a sustainable income. I know that saying this may be frowned upon, as the life of an artist is supposed to be enough in and of itself (the myth of the starving artist image remains). But we live in Italy, and so to see our son and his family from Canada requires airfare; to run a school requires heat for the models/rent/materials and other resources; to make our own original work requires paint, clay, models, time and (ideally) the opportunity to create without the anxiety caused by serious and debilitating financial restraints.

So I welcome this chance to talk about the 'business side of art' which is so often considered contrary to 'true art'. Too often artists feel guilty or uncomfortable discussing the realty of making a living, and yet it is this very subject that is essential to understand if one wants the freedom to do their best work – both for themselves and for others."

Q. Can you tell me in your own words a little bit about yourself?

"Frank and I met in 1986, and we have been married and in business together now for 32 years. While we have always been in arts related businesses, the work evolved gradually over time. We started by making children's wooden toys before our son was born. I had been studying psychology and Frank had thoughts of going into accounting, but in the end it was clear that the arts were better suited to us. Frank had always loved working with his hands, and I had painted and drawn casually from a young age. My parents had encouraged my art but I don't believe they had ever considered it to be a viable profession. I had left home at a very young age (16) and while I did start University that same year (I got in early – I guess I've always been in a hurry) I soon realized that psychology was not going to be my passion.

Frank was the first person who made me realize that starting a business was a possibility available to everyone, and we never looked back. The toys soon led to Frank making beautiful solid wood furniture and before we knew it we had moved from downtown Toronto to a quaint tourist town north of the city to raise our son, and soon started a business that became a 5,000 sq. ft. furniture store (but how we got that with no money at all to our name is a whole other story! – we were absolutely flat broke in those days).  We had no money to decorate the store space, so I filled it with paintings and decorated it with wall murals. Soon the interior designers who were our main clients began asking for original work for their clients' homes. Eventually this became sustainable enough for us to leave the store behind and concentrate full time on private commissions. When our son was old enough and in University we decided to finally make the move to Florence. I had first come here in 1984 with my mother. Frank's family was from here originally, but he came to Florence for the first time when our son studied here for a year in 2006, and loved it as much as I did."

Q: Why did you decide to start The Florence Studio, and what were some of the major hurdles in your way in the beginning?

"In Canada our business for many years had been known as The Design Studio, and when we made the move to Florence 'The Florence Studio' seemed to be a natural modification.

When we first moved we had made a choice to increase our training in traditional art and had gone back to school in Florence while we re-established our business. Even at the ages of 40 and 50 we felt there was more to learn.

We jeopardized our financial security by doing so and it was, in the end, very stressful. The education had been costly and the time needed to 'start over' and study was challenging and slow. Patience is the key, but stress can take its toll, and for many artists this is a very real concern. Frank and I were lucky to have each other because there were certainly tense moments where we wondered whether we had made the right decision, and whether it would take more time than we had resources. I would suggest that artists find understanding colleagues and friends to support them during these times, as it is a lifestyle and journey that not all can relate to in a supportive way, but with persistence it is possible.

The Florence Studio began as a business for just our professional work – original art which we then sold through galleries and agents, and also as public and private commissions (Frank, e.g., did a life-size bronze of Harriet Tubman and I did many portrait commissions). But soon we had students asking if we would teach. For a while we said no. Eventually a family friend requested lessons for his daughter and we made an exception, and to our surprise it was the most rewarding experience… beyond anything we could have imagined. We took on a few more students when our schedule allowed for it, and before we knew it, we had an opportunity to have 2,200 sq. ft. in an historic palazzo just one floor down from our private studio, and the decision to launch the school was made. We've never looked back. We love our students and the rewards that come from teaching, and the balance it lends to our own studio work is perfect. Artists often are inclined to be solitary, and the school forces us out of our space and into ongoing conversations with like-minded people from around the world. The energy this brings to our own work and life is invaluable in a way we would not have imagined."

Q. I think many people are apprehensive about connecting the art world with the business world. How applicable would you say traditional business training is to the art world? Are there any major differences to be aware of?

"The artists we know were not motivated to 'choose' art as a career because it was profitable. There are far easier ways to make a living, and most would say that art 'chose them.' That is to say that their desire to create was greater than their desire for financial security and therefore they would paint or sculpt regardless of whether their work ever sold. Furthermore, many are reluctant to even speak of profit as it carries a bit of guilt, and the worry is that arts and money should not be discussed together. But if one does not have an independent source of income, then the possibility of creating art full time (as opposed to just as a part-time hobby) is dependent on sustainability, and so it is worthwhile to find a balance that allows for the artist to continue. It is no different in that way than any other career."

Q: So far in my own experience, I've found that to run an art business, one has to wear many hats (i.e. painter, teacher, marketer, networker, etc.). What sorts of "hats" do you have to wear, and how much time would you say you spend on each area?

"Making art your full-time profession will require the artist to wear many hats, and while this can be challenging it is also interesting and often fun. Accounting (Frank and I both took Certified General Accounting when we first met), scheduling and deadlines, teaching, marketing, etc., are all part of the life.

An artist may not have the resources to outsource these jobs to others, and the responsibility often falls to us to do it ourselves. It is also essential in many ways that we do much of this ourselves, as art is a very personalized business, and in many cases others could not adequately perform these jobs in the same way. Marketing, for example, often involves direct relationships with galleries, purchasers, and students. The people that buy from you or who represent you need to know your story and they must trust you.

This all takes time, but in the end the relationships bring their own unexpected rewards of new friendships and new perspectives that all contribute to your work and your lifestyle."

Q: There's a saying, "It's not what you know, it's who you know". How important a role have personal connections or networking played in your success?

"Yes, 'who you know' will play a big part in a successful art career; but who you know is not necessarily something you start with, but instead is a lifelong project of meeting new people and making yourself available to discuss your work. Your enthusiasm is often contagious. Take every opportunity to discuss what you do and why you do it, and you will find many are interested and even fascinated by the choices you have made and the work you create. When we began many years ago we knew no one in the art world, but it is a small and supportive community, and if you make yourself a positive part of it you will be welcomed. We are very lucky to know and host some of the very best realist artists in the world at our studio; the agents/galleries that represent us trust us explicitly and we trust them; the private purchasers of our works have often met us and stay in touch as friends long after the sale."

Q: How do you go about making these connections?

"Sometimes it is necessary to simply ask for opportunities. Frank really began to expand past our local market when he did a portrait of Harriet Tubman. One day, we were walking past a very small church one block from our house (in St. Catherines, Ontario,) which was the Canadian National Historic Site for the Underground Railroad/Harriet Tubman. The church was in desperate need of repair and we saw three landscapers working on a tiny garden area for it, and we had the idea that it should have a portrait of Harriet. We spoke with the landscapers and they explained that a donation had been made to the site for the work they were doing. We knew that money was tight for the church and that they would likely need a roof more than a work of art, but in this case we felt it was a strong local tie to the community. So we arranged a meeting and suggested that if they could find a donor to pay for the cost of casting we would make the portrait. Then we contacted a monument company and asked if they would be willing to donate a granite stand for the sculpture and engrave it. Everyone agreed, and the unveiling of the sculpture was a lovely event with the mayor and press in attendance. This work contributed, I believe, to Frank's reputation, and gave confidence to agents and galleries and collectors for future works.

Many years later we heard of a large new school being built back in our city, and that it was to be named The Harriet Tubman Public School; I approached the school board and they enthusiastically agreed to our concept and to our price, and so we began the work. We then contacted the journalists who had all written articles about the first portrait and they were all very enthusiastic about covering the ongoing story of the next one. We also had friend do a video of the making of the sculpture to show the sculpting and casting process and we were able to use this on Facebook. Years later, we were contacted by Fine Art Connoisseur Magazine and they did two separate articles on Frank's work of Harriet, which was wonderful publicity.

This is just one example, but without our having taken the initiative the work would never have been commissioned. 

Going to galleries, showing interest in their work, and meeting them in person is important before asking for representation. I had done this with The Art Gallery of Hamilton and was accepted to their annual show. When some of my work sold, they agreed to take more for their showroom/store at the museum. And while the occasional sale from there was nice, what it really did was establish my reputation. 

Facebook and websites allow work to be seen online by a large audience, and while we rarely sell directly from here, it does often bring people to our studio. Once they have met us and seen our work the visit often leads to a sale, and when they then show their friends and family it is not unusual for them to also begin following us, and we often hear from them in coming years when they too want a portrait or one of our original works. 

I believe it was likely through Facebook that International Artist Magazine must have first heard of me, and they contacted me to see if I would be willing to have them publish an article about my painting process. This publicity is helpful to gaining recognition.

Meeting other artists, whether online or on social media, is also a good chance to share stories and process, and many will then want to meet you in person. For us, we are lucky to not just have met some wonderful artists but we have also had them teach for us at our school.

Recognize that many people are interested not only in your final work, but also in the process of creating, and your story. Be willing to share your experience and you will soon find you have an audience."

Q: These days there are all sorts of forms of marketing and self-promotion, from social media, to traditional paper methods, to word of mouth – What form of marketing have you had the most success with? Do you have any ideas why this method works for you?

"In the past it was common that the only way for your work to be seen was through a gallery (or centuries ago through a Salon exhibition). Often, getting approval or acceptance of your work was very restricted, and what you created was often directly influenced by what the gallery believed the market demanded.

Those days are now over, and we are lucky to have much more freedom to choose what we paint or sculpt. Social media and personal relationships and connections now offer greater exposure for artists. Still, it requires effort and time. While we have seen a big shift in recent years away from strictly agent or gallery representation, there are still a few very good ones left, but it is very important to note that trust is now even more essential to these relationships. In the past it was common for galleries to not even tell the artist the name of their buyers. Today the buyer often insists on knowing the artist, and it is now possible for them to find you, as we all have websites and social media pages.

If you deal with a gallery or agent, you must be very careful to never break their trust by selling directly a work that they represent, and to always communicate openly when you have been contacted directly about a work they have shown.  Your pricing must also be consistent, whether you sell from your studio or whether you sell through a gallery. That is not to say you cannot offer a small discount to close friends and family, but you should be careful that you do not undermine your gallery by offering your work at half price if clients buy direct, because while you may not have to pay the 50% commission, you are now acting in that role yourself, and so the commission becomes yours, but not at the cost of reducing your work's retail value – which is both unfair to your other collectors, and also unfair to the agents who have worked hard to promote you.

Social media has provided a whole new market to artists, but it must be used responsibly. Your name is your brand, and when clients or students search for you they are interested in your work and why you do what you do, but they do not necessarily need to know what you had for breakfast. If you feel compelled to share your political views, where you had dinner last night, or your relationship status, I recommend a separate page under another name known only to close friends and family.

Keep your business page fun but professional. I love FB as it allows for direct messaging with students past and present and collectors and new artist friends, and provides a 'word of mouth' equivalent in that it can be easily shared by your followers. But I know many artists have now also found Instagram to be a great venue, and I am still learning how to best use it.  We are always learning… the world changes quickly and that makes it fun, but also time-consuming."

Q: It’s typical for businesses to identify their "target market", their ideal client. Do you use this approach, and do you have any specific strategies to make sure your message is reaching the right people?

"When I was just 17, I worked for a marketing agency briefly, and the phrase 'Target Markets' was often used as a first step in a marketing strategy. I don't believe this applies to us now as a starting place. The market that appreciates your work will soon become clear if you truly love what you do and have the opportunity to have it seen.

Trying to predict who will buy is not a valuable use of your time at the beginning. Later in your career it will take care of itself, because those that love what you offer will tell others, and the chances are good that their friends have a similar interest already.

Sometimes too, this market is impossible to predict. I once did a painting of a young girl from Amsterdam gazing out my studio window, draped in a towel, overlooking the rooftops of Florence. I could never have imagined the reason the collector who later purchased it would buy it. My gallery owner told me the story of how an old man (80 or 90 I believe) had come to see it, and bought it because it reminded him so strongly of his wife when they were young and first married. She too had often stood at the window in a similar pose. It was a beautiful story, but not one that I could have planned for in advance. I painted it simply because the young girl was posing for Frank for sculpture, and when she had a break at the window I had just thought it was spontaneously beautiful.

Sometimes you will choose to do a piece because you find the subject interesting, sometimes because it presents a challenge, sometimes only because you want to try something new… my best advice is to not overthink it. Just do it.

Some things are best not planned or overthought. If it speaks to you, create it – and then simply wait. It is likely that it will speak to someone else, and possibly in a way you had never imagined, and that makes the whole process magical."

Q: What's your daily strategy? i.e. what's a typical day-in-the-life of Laura look like?

"Our days start very early… often between 4.30 and 5.30am, but we do go to bed early so it balances well usually.

I start each day returning emails, responding to FB comments, updating my calendar, booking models, and then I plan for the day. I prepare the studio and my students' work-stations with clean brushes (that Frank is kind enough to wash for me!), re-filled palettes, handout notes, etc., and Frank does the same for his sculpting students.

If there is still time before the start of class at 10am, I will paint a bit, but often nothing too complicated… perhaps a background or clothing, or even just transfer my drawing, or do an underpainting from anther day's drawing session. We now teach every weekday, and sometimes Saturday mornings. But evenings, Saturday afternoons and Sundays are strictly for my own work on original paintings or commissions.

Yes, it does mean we are constantly working, but there is variety to our work, with different subjects, new people, and exciting challenges. So we really can't imagine it any other way. We would be quickly bored if we didn't work each day. It is not for everyone, and we don't suggest for a moment that every artist must do this. But it is true that self-discipline is essential, as your time is your own, and there is no better way to keep up your enthusiasm than by simply starting. If I don't feel like painting (yes, it happens to us all), I find that just deciding to complete a small simple task on a painting is enough to get me hooked, and before I know it, the small bit I started on is finished, and I can't resist continuing. Sometimes we must just find a way to begin, and the rest will take care of itself."                                           
                                                                      

Q: We all know there's no "secret recipe" for success; but if you had to boil it down, what would you say, based on your experience, is the fundamental key to success?

                                                                                                                                   

"Persistence and enthusiasm.

Remember why you chose this career. It is all too easy to forget in the day-to-day responsibilities that you chose this path because of your love for it. Find ways to enjoy all aspects of your work. Do the work you love, and others will likely love it as well. The world is a big place in many ways, and so remember, it is not necessary for everyone to appreciate your work, but someone likely will if it can be seen.

Enjoy the journey and the relationships, and always be grateful that you had this opportunity to do work which makes each day a new adventure."

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Later I had the opportunity to meet Laura and her husband at their studio in Florence, where we had a wonderful and inspiring chat over a glass of Prosecco. Later, she sent me an afterthought:

"I think it is maybe worthwhile to say that 'ignorance is bliss'... that is, sometimes not knowing the obstacles one will inevitably encounter enables and frees us to 'just do it' – 'just try it'.

Maybe this is a little easier when you are young, but perhaps we are living proof that you can still do it when you are older. It is not wrong to be a bit realistic, but don't overthink it and talk yourself out of your dreams."