Practicing Quiet Confidence

I am not a confident person by nature, and I suspect that it's human nature to worry about our actions, words and abilities from time to time. However, over the years, I have learned the art of displaying an attitude of quiet confidence – especially while showing my artwork to collectors.

In order to attain quiet confidence, I must first understand how “confidence” differs from “arrogance” or “false humility”.  Ultimately, the quality of my work is what will lead me to sales, but I must also avoid negative body language and phrases -- so that I don't unconsciously talk someone out of buying a painting they love.

Years ago, I took a collector friend to another artist's studio. This collector, let's call her Elizabeth, already loved the artist's work – I'll call the artist Robert. When we entered Robert's studio, Elizabeth was immediately taken by a painting of an interior with a woman sitting at a table. This collector had the means to buy practically any painting in the studio – so she inquired about the painting saying that it was lovely.  However, Robert responded with, “I'm not really very happy with that painting”. Needless to say, he lost the sale, and at the same time insulted Elizabeth's taste.

Many of us artists ruin our chances for a sale because we hold extreme attitudes – either being arrogant or else downplaying our work with false humility. Most of the time, we know when our painting has hit the mark, and we also are aware when we've missed that mark. As we become more experienced technically, our standards rise, and we begin to think some our paintings are less than worthy - when in reality, they are still very good. If someone obviously responds to a painting, who are we to deny them the joy of that experience just because we don't think it's that great? When a collector decides to lay money out for a work of art, the worst thing the artist can do is tell the potential client what's wrong with the painting.

Alternately, some artists cover up their insecurities with arrogance. This attitude can be just as destructive to sales. No one likes to buy from an artist who belittles other artists or boasts continually in order to build him or herself up. Never, and I say again, NEVER put down another artist's work in a sales setting. Let the collectors decide for themselves.

Whether you're showing at an outdoor show or at a gallery opening, it's your turn to shine. Your main objective here is to start conversations – just as Clint has recommended in his posts. When an art lover stops in her tracks in front of your painting, it's time to find out what it is that she responded to. When she responds, I agree with her - and I avoid blurting out what the painting means to me, because it may have an entirely different meaning for the viewer.

When someone compliments your work, the best response is a hardy "Thank You" backed up with a confident smile. Avoid using words like, “I tried” or “my attempt”. The piece has obviously touched the viewer, and it would be a grave mistake to downplay their enthusiasm with any negative indication. If you feel highly insecure about the work, you probably shouldn't be showing it in the first place. Always show your very best work, because folks will likely judge your overall ability by your least successful piece. But, if the work proves to be worthy of positive attention, who are you to inform the viewer otherwise? If you must, pretend that it's the greatest thing since sliced bread. Don't rob your potential collectors from joy. If they love it, it is worthy of love.

Body language communicates more accurately than words do. If your stance and words don't align, people will believe your body language before they'll believe your words. This is a proven fact. So be sure that you learn to take on a look of confidence. Dress the part, I like to wear something a little special. I find that I sell more artwork when I wear a long skirt and nice jacket. I remind myself to stand up straight and keep a pleasant look on my face – smiling easily at anyone who approaches me.

I immediately take interest in the lives of anyone who takes interest in my art. I don't talk about myself constantly – I leave room for a two-way conversation. It's easy to get the conversation rolling if you ask open ended questions that cannot be answered with a yes or no. I like to ask where people are from as an ice-breaker. I introduce myself to them – and don't judge whether they are potential buyers or not. Sometimes the folks who look the least like they have any money, are avid collectors. Besides it's rude to ignore anyone who takes interest in your work – whether they can afford to buy or not. Furthermore, giving preference to some while ignoring others is unethical. You never know who they know or whether they'll save up for a purchase later.

Avoid Being Long Winded

If you talk a lot when you get nervous, try to curtail your long-windedness. This is one I have trouble with. I become a motor mouth. Nobody wants to stand there and hear me endlessly go on and on about my credentials. If I were amazingly famous... maybe they would, but I am not. My bio and accomplishments are posted next to my guest book.  Learn to read the body language of others, and see whether they are wanting to escape. Yes, I always tell them a bit about my work, but I deliver information in short spurts and then see what their response is.

While they look at my paintings, I leave them alone to be at peace with the work. But the important thing is that I practice the demeanor that silently says I expect my work to sell and am not surprised when someone wants to buy it. Collectors need to know that they are making a good decision. Assist them by conveying that you know your artwork is worthy of their attention. Be available to answer questions and ask for the sale if you sense they are sitting on the fence. You must learn when and how to politely ask for the sale. It will make a huge difference in your income.

Last night, at the B&B where I stay in Tucson, one of the guests was chatting with me about my work, and said her sister – whom she was visiting with, was interested in one of my desert watercolors. Then next morning at breakfast, I walked over and mentioned that her sister had said she was interested and then I quietly stated the price. Then I left her alone for a few minutes after which she announced that she wanted to buy the painting. By quietly and personally letting her know the price, I essentially was asking for the sale. We discussed the payment terms, and I asked for her mailing info and if I might add her to my e-newsletter. She said yes with excitement in her eyes. Not only have I sold a painting, but now I have set up occasions for future conversations, and perhaps, a lifelong collector of my work.

Express confidence in yourself and your work, and those who love it will feel secure in their purchase.