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Signs of the Times (semi-long)

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Signs of the Times (semi-long)

#1

Signs of the Times (semi-long)

Thomas Skaggs, Foothills of Mount Level

I have been woodworking for about 26 years now. I took it up in 1993 as a hobby and it became a creative outlet for me. My first college degree was in Art and Design. A few years into woodworking I began to study furniture from an art perspective and not long after was given a chance to sell work in an art gallery.

I remember the excitement I had when my first piece sold. I was over the moon. It lit a fire in me and I began to dream of making my way in the world of studio furniture/ functional art. My aspirations were fueled by the successes of Nakashima. Maloof, Krenov, Knox Bennet, Esherick and Castle, just to name a few.

Since day one, I have always tried to create my own design style. It's not easy since many of the design concepts have already been established. But I have done my best to push my work into new directions over the many years.

I have been fortunate over the years to get my work in some really good galleries. This Spring in fact, I have been delivering new work to a couple of my best galleries. But along the way, my aspirations caused me to wonder if I could get my work into even more prestigious galleries, the likes you would see in NYC, Boston or Philly. I sent them submittals but to no avail.

I admit, it was disappointing. It caused me to reflect and and ponder my own work. It could be that my work just didn't make the cut. I assumed that to be the case and accepted it.

That was a few years ago. While I tried to accept my place in the functional art world I realized that I could not put things into perspective unless I better understood that world. Thus I embarked on a personal quest to seek knowledge about the world of functional art, about galleries and about the business of studio furniture in today's market.

I spoke with peers who do similar work and I spoke with gallery owners. One valuable resource was Bebe Pritam Johnson. She and her husband owned Pritam and Eames Gallery in NY. It was a nationally known gallery and one of the more important galleries for artistic furniture. The gallery was created in 1974 but has been closed for a couple of years now. In talking with Bebe I learned that the studio furniture movement, while still alive today, is nowhere near as popular as it was in its hay day. The movement really emerged in the late 50's and slowed substantially by the late 80's/ early 90's. We spoke for quite a while and I realized that my aspirations were fighting a headwind of diminished market interest.

Then, just last year, I struck up a friendship with a distant relative name Tommy Simpson. Tommy was a pioneer in the art and functional art world after he graduated from Cranbrook Academy in the early 60's. Oddly enough, his work was sold through the very galleries I had attempted to get work into. His work is very whimsical and uniquely crafted. Now in his 80's he is no longer making furniture but continues to create art in other media. Tommy and I have spoken for hours about the art world and furniture. His view was very similar to Bebe's. He believes there has been a cultural shift in which there is a diminishing interest in buying high quality hand made craft. It's not entirely dead, but how people value things has changed over time.

Recently, I have been disappointed to learn that one of my galleries will be closing next week. Sawbridge Studios, in the Chicago area, will be closing the doors to its long time home in Winnetka. This will be the second setback for Sawbridge. They once had two locations. The one in Winnetka, and the other in Downtown Chicago in the River North Gallery District. The downtown gallery closed in 2009 due mostly to the recession. The recession was brutal for galleries as consumers stopped buying things like art in order to limit discretionary spending. Many galleries closed during that time.

Sawbridge's closure next week has more to do with a shift in the market. The fact is, the market is changing. Younger generations are less interested in purchasing quality items. They are shifting towards owning disposable things, including furniture and art. HGTV has been a dominant influence by steering interest into meaningless decor made in foreign factories. The other trend is not only what consumers buy, but how they buy. Galleries are fighting the same battles as other brick and mortar businesses. People today are more willing to buy things on sites like ETSY and Pinterest. It's hard for me to imagine buying a work of art without making a connection to it in person. However, that is much the trend these days.

So I am writing to report some of my findings from my journey for knowledge. I wish I could share good news, but I'm afraid it is more about offering a sobering reality check.

Perhaps in other times, my work still wouldn't have made the cut in any prestigious galleries. But I may never know, as those galleries have either closed or have shifted the focus of their curating away from furniture. Galleries must change with the times in order to stay afloat. As for Sawbridge, they are not dead and gone. They will move to a small, more affordable location. It will just be a small showroom but they are re-tooling for doing mostly e-commerce. Such is the sign of the times.

I do not wish to cast a pall on the world of finely crafted furniture or artistic design. That world still has life in it. I'm still doing well in my remaining galleries, albeit sales are slower these days. It has, however, caused me to contemplate some shifts in what I make. I can see a future where I may not be making as much full scale furniture. In fact, later this year I plan to take a temporary hiatus from furniture and get back to my art roots by exploring sculpture, wood of course.

For the younger folks who aspire to income success with woodworking, I would not discourage them. But I would advise them to explore the business end and cultural trends, as I have. By doing so, they will be better equipped to focus their work in areas that can be commercially viable. It's a challenging world for sure, and there is lots of competition. But it can be rewarding when you do succeed.

T.

Re: Signs of the Times (semi-long)

#2

Alan Young

Great write-up.

Alan Young

Hey My Friend,

You reminded me that the "grass isn't always greener on the other side" I have been working on a commission piece the last couple of months that is totally in the client's ball park-So I am doing things that I find go against my "artistic" bent to give the client what they are asking for. I was just thinking last night "I would just like to build stuff that I like and hope someone buys it" Ha! Everyone else's yard always looks better till you have to mow it. Here's to you having an outlet for your Artistic Drive

Re: Signs of the Times (semi-long)

#3

Re: Great write-up.

Thomas Skaggs, Foothills of Mount Level

Thanks Alan. Your reply reminded me that the world of woodworking is certainly not limited to artistic work marketed in galleries. That happens to be the niche I chose. As you say, no niche is without downsides.

Every woodworker who decides to pursue a living via their craft has to weigh the pros and cons of each avenue for woodworking. If there is a predominant niche for woodworking, it's not readily apparent. So much depends on many factors, such as the economy, location, and direct competition. The one thing that successful woodworkers seem to share in common is that they are good at whatever they do. Despite the changing values, there remains an, albeit shrinking, group of prospective clients who value high quality work.

You have done well to seek and find a niche for your work. I hope it continues to flow for you!

T.

Re: Signs of the Times (semi-long)

#4

Interesting insights, more than you imagined

Bill Tindall, E.Tn.

For someone that builds in response to what someone needs, a place to store socks as I like to say, the insight into your world of woodworking was enlightening. It would be daunting needing to build something unique with the hope someone else would find it uniqueness worth the price of creation.

With the thought that people need a place to store their socks......My wife's father was an insurance salesman with 4 children. Their furniture was all made in a small shop in Utica, NY- desk, beds, chairs, tables, dressers, etc. . When they needed a bed for another kid they ordered one from Mr.Drewery. The point is that someone of this means could readily afford custom furniture in mahogany and maple in the 1930's-40's. What happened? Only the rich can furnish with custom furniture now days.

Re: Signs of the Times (semi-long)

#5

What is the value of quality?

Thomas Skaggs, Foothills of Mount Level

Bill,

What I have learned is that there appears to be a shift in values in today's society. There was once a greater demand for custom made, or at least hand made furniture as you described. In most cases it was well made and built to last for generations. Even store bought furniture was mostly well constructed.

There was a different culture of value back then. People valued well made things. Perhaps the depression reinforced such values. As for "studio furniture", it fit in with a variety of crafts, like pottery and textiles, that were valued for their craftsmanship as well as expression by the makers.

I agree that those of means tended to be the greatest benefactors. But even today some quality things can be purchased for a reasonable cost. The thought of long term commitment of well crafted work seems to elude younger consumers these days. One place to find that out is with upholsterers. There was once a day in which people would think it was crazy to throw out a well made sofa. They would merely have it reupholstered with a fabric that was en vogue. While the sofa was a large investment when purchased, it became more economical over time. Now, the trend is to buy a sofa from a big box store and when it gets worn (usually in a much shorter length of time) the owner just puts it on the curb for the landfill.

Oddly enough, this is a habit of generations that also claim to be more mindful of sustainability. I contend that there is nothing more sustainable than a well made piece of furniture that can last for generations.

Alas, the value shifting is taking a toll and the marketplace is suffering for it.

T.

Re: Signs of the Times (semi-long)

#6

Younger collectors

John K Jordan

I was part of a discussion among artists a few years ago about the problems galleries and thus artists are having. In addition to financial reasons, the older generation of collectors are slowly dying out. The group suspected one reason younger generations are not buying quality art may be related to the trend to reduce and even drop art programs in the schools.

If people are not exposed to and taught how to see and appreciate quality they may be less inclined to purchase quality. It's sad to think that a growing part of the population might not even be able to see the difference.

JKJ

Re: Signs of the Times (semi-long)

#7

Questions

Bill Tindall, E.Tn.

Living where I do I get lots of exposure to cows and possums but not so much to art and galleries. So I don't know much about this world. But I am curious.

"Studio Furniture, "functional art"- Applied to a table are these terms equivalent? Assuming they are, when did studio furniture get invented? Have we always had galleries selling it along with pots, painting and the like? I guess what I am really asking is what is its history?

I have a friend who makes small artistic boxes that he sells in galleries. His niche is to inlay geometric patterns into the lids of quality boxes constructed from attractive woods. The gallery price is several hundred dollars. Is this activity as a business and/or art different from making studio end tables?

Years ago I taught a class in Chicago. I give away a cutting board as a door prize at these classes. At someone's recommendation I sought out the gallery that is now closed. Saw some chairs I would have considered buying if the gallery had been local. Saw a cutting board for $75 that was no harder to make than what I was giving away. It struck me that the market for $75 cutting boards might be a bit thin. The artist that made them and the gallery that sold them could be at risk of having too few customers to survive, I thought.

While passing through Berea one day we stopped at a furniture shop. A "production run" of 12 cherry chairs was underway, remaining to be finished. We negotiated for 4 which got shoehorned into an already overloaded truck and they went home with us. I think the marketing advantages of a shop accessible to the perspective customer could be huge.

Re: Signs of the Times (semi-long)

#8

Same message from different source

Bill Howatt

I had a similar lesson, not from gallery owners and craftsmen, but from the little muscular guy who worked for a major moving company. He delivered the furniture I was taking back to Ontario from my mother's estate in Vancouver a few years ago.

He said it was nice to see the furniture being passed down but that isn't the way things are headed these days. He said the young people tend to want the latest fad furniture/furnishings/decor and are quite happy to replace their existing items when the mood strikes them. If it is made out of cheaper construction it doesn't matter since they aren't looking for lifetime(s) of service from it.

Bill

Re: Signs of the Times (semi-long)

#9

Re: What is the value of quality?

Larry Clinton At Frankfort, (Central) Indiana

Somewhat off topic, but related to your excellent write up. When I was in high school, I saw a need for a repair shop to mend small appliances, radio's and TV's.

So I was in process of taking an online course for TV / Radio repair at the time and decided to start a small shop. By small I mean it was located in my / my mothers home in a spare bedroom.

I was fairly well covered up with business in a short time. I repaired Table fans, Mixers, Irons, Toasters, Radios, TV's etc.. This was about 1957. All of the above items cost an appreciable portion of a normal wage earner at that time.

For instance a table fan was in the $15 range, a mixer $30, toaster $25 etc. This was in the time a factory worker was paid less than $2.00 an hour.

In less than 3 years Transistor radios appeared. At first they were expensive but within a year or two they were $10.00 or less. They required a lot of time to repair and parts were almost impossible to obtain.

In the same time frame appliances were redesigned and became riveted or heat staked together and sold for 1/2 or less than the repairable versions.

Within 10 years very few if any small appliances were designed to be repairable nor were any replacement parts made available!

Today no one has any normal appliances repaired, they toss them into the landfill and purchase a new one. Even the high priced TV's are not repaired after warranty expires.

This seems to follow the same trend you observed in woodworking. The public purchases factory made cheap furniture, and even decorative "Art" from IKEA and other throwaway suppliers.

When I was young (a long time ago) our furniture including our dining room table and chairs, all the bureau's, chests, beds

were several generations old, still functional and IMHO much more beautiful than that obtainable today. However to replace any of the hand made units with new would have cost several weeks salary!

Re: Signs of the Times (semi-long)

#10

Value

Bill Tindall, E.Tn.

Realizing I am writing about a topic I know little about......when I am buying a place to store my socks I expect a close relationship between the cost of production and the cost of the product. Looking at "functional art", lets say a cereal bowl, it seems there is an added production cost that I will call "creative cost". (I have a weakness for cereal bowls and own way more than I need to) Well made cereal bowls cost from $20 to $60 or more at galleries and craft shows. $60-20=$40 is the creative cost that has been added by the artist to the selling price. As long as I think of the $60 cereal bowl as a cereal bowl I won't pay the $40 creative premium. I think to myself, if this artist wants to make a living selling cereal bowls to me they need to make twice as many and sell for $30. I have no clue what went on in the artist's head that arrived at the $60 price, which may be why I won't pay $60 for a cereal bowl. However, I have payed over $100 for a crystal glaze vase that decorates a shelf and only occasionally holds flowers. Perhaps "value" is a problem with functional art. It gets valued by some customers as functional stuff and not art.

Re: Signs of the Times (semi-long)

#11

I want it tomorrow

Joe in a Cleveland suburb

Younger generation wife and husband.

Wife - "Honey, we need a table and two chairs for the kitchen. The chairs we bought last year are rickety."

Husband - "Ok. I found a table with 2 chairs in 'modern style' on Amazon for $149 in a minute and a half. It will be delivered free tomorrow morning. I paid the extra $9.99 to have it assembled. I don't have a screw driver."

Wife - "Awesome! Lets start binge watching Breaking Bad again."

:b

Re: Signs of the Times (semi-long)

#12

"That Bowl

Mark Mandell - Gone Round In New Jersey

is HOW MUCH?!" asks the K-Mart shopper.

"You want $350 for a 15" salad bowl when I can buy the same size 'real wood' bowl made in China at the the grocery store for $35? You must be crazy."

"I want a salad bowl I can use for salad, not just put on the table for display. Put drippy veggies and oils and vinegars in a $350 bowl? You must be crazy."

"You're suggesting I pay an upholstery guy $1,200 to redo my old sofa, with a 6 week waiting list when I can replace it for $500, delivered in 3 days? You must be crazy."

"You want $600 for that wood vase that's got a big hole in the side? Hey, I was born at night, but not last night, pal."

Re: Signs of the Times (semi-long)

#13

About pricing

Thomas Skaggs, Foothills of Mount Level

An important thing to know is that when anything is sold in a gallery, the artist only gets half. I have faced that misconception ever since starting in galleries many years ago. Even my friends would tell me that my stuff is expensive and think I must be doing well financially. Hardly the case!

In woodworking there are so many paths that craftsmen can choose. I chose a path of making unique, mostly "one-off" pieces. They are, by far, the least productive ways to go. Because each piece is unique, I must create a new design and figure out how to make it. As such, my work takes longer to make. Given my various overheads, cost of materials, delivery costs, etc. the actual income for my time is much lower than you might expect.

It would be far more productive for me to make simpler things and multiples of everything. So why do I do it the way I do? It could be that I am a glutton for punishment (ha ha) but the truth is that exploring design, while not being the most efficient or profitable route, feeds my creative soul. Aside from money, I guess there is a value in that.

Craft, whether it be furniture, turning, pottery, textiles etc. is a tough way to make a living. Many artisans have other jobs to help pay the bills. When you see a $75 cutting board, that craftsman got $37.50 for it. Take out all the overhead and the craftsman might only get $20 income. No pension, no health care benefits. Like I said, tough way to make a living.

Re: Signs of the Times (semi-long)

#14

Teaching

Mark Mandell - Gone Round In New Jersey

appreciation is tough when school administrators regard that the only things that come out of the Art Room are dirt and loud music. Spent 6 years fighting budget cuts, scrounging materials, and explaining extra materials fees to parents who think that what they pay in school taxes covers everything.

Re: Signs of the Times (semi-long)

#15

Answers

Thomas Skaggs, Foothills of Mount Level

Bill,

To some degree it is semantics. Studio furniture in many cases can also be referred to as functional art.

The term "Studio Furniture" is a catch-all term for uniquely designed furniture made in a studio setting. Generally it is made by a single craftsman or by a small number of craftsmen in a small, non-production workshop. In that it is unique design, the workshops are often referred to as studios.

Functional art is actually a broader term. It refers to any artistic works that can be used in a functional way. Furniture would be just one example. Other examples would include lighting, ceramics that can be used, woven rugs and on. Studio furniture therefore can be referred to as functional art...semantics.

There are lots of opinions about when the studio furniture movement began. But generally it is considered part of the Modern American Craft Movement that emerged in the 1950's. That movement included many forms of craft, including furniture. Some have called George Nakashima "the father of the American Craft Movement". I'm not sure if that is true, but there is no doubt that he was a major influence. It was also a time where there was a huge international design scene happening. Danish design was huge. International design was emerging post war from earlier source such as the Bauhaus. Pioneers of studio furniture included Wendell Castle, Wharton Escherick, James Krenov, Sam Maloof, just to name a few.

They are all role models for me.

Re: Signs of the Times (semi-long)

#16

more questions

Bill Tindall, E.Tn.


Given that this piece is an original creation, looking back to its creation, could this piece be considered "Studio Furniture" in the context of the motivation of the buyer and how it was created. If not, why not?

No telling where perking my curiosity will lead...........And maybe you can see where this is headed. Maybe there has been "studio furniture" over the ages as defined by buyer motivation and means of creation. . But there are times when lulls occur or changes in taste that appear as lulls to one media or form.

The next wave may be just around the corner.

While awaiting an eye exam I spent an hour thumbing through 3 Architecture Digest magazines. There was evidence of a continued demand for "functional art". But what I saw was the result of designers creating studio furniture made from metal and plastic and painted whatever was under the paint. The only wood furniture I saw were antique pieces with the gallery reference from where they came.

Re: Signs of the Times (semi-long)

#17

Maybe look elsewhere

Bill Tindall, E.Tn.

I have a daughter that was a dual art and other major in college. She doesn't shop at Galleries. She goes there, and craft fairs, to look so she is not unaware of these sources. So maybe the lack of Gallery customers involves something other than lack of art education.

Re: Signs of the Times (semi-long)

#18

We need a ramp for young collectors.

Chuck Nickerson

Last fall I visited an artist's studio and fell in love with her work. Her pinnacle piece (simply amazing) was priced at $6000. That's 4x my current highest acquisition. Being smart, she also had similarly themed pieces (different sizes, materials, etc.) at $1500, $400, and $150.

So the $150 piece followed me home and this fall a $400 piece will follow as well.

What would a studio-furniture box look like? What would its price-point be?

Re: Signs of the Times (semi-long)

#19

Probably Not

Thomas Skaggs, Foothills of Mount Level

Bill,

"Studio Furniture" is a contemporary term and generally associated with modern, non-traditional design. Your example is very traditional. I am not really a judge of what is or what isn't "studio furniture".

I am not sure, but your example looks similar to the work of the Goddard and Townsend family. 18th century cabinet makers created work that might feature a personal styling, but for the most part, their designs followed the taste makers of the day. A good example would be Chippendale's Cabinet Maker's Director. Bonnet shapes, ball and claw feet etc. were commonly used and most furniture makers did not stray very far from fashion.

Studio furniture designers often throw out all the rules. Their work often has unique identity and sometimes can even be very abstract. Wood is not a necessary material either. Metal, plastic, cardboard and a variety of other materials are fair game.

Re: Signs of the Times (semi-long)

#20

I see....

Bill Tindall, E.Tn.

I incorrectly thought studio furniture was defined by the market, furniture purchased more as art than a place to put socks. So, original Krenov pieces would be called studio furniture. The bazillion look-alikes made by his students, not.

Who ever was the creator of the late 18th century high boy was a studio furniture maker of the day, while those that developed the style as it became fashionable, not.

As I wandered the streets of Chicago I looked up at towering apartment buildings and into shop windows selling stuff for what a country bumpkin thought astounding prices. Then I realized, perhaps incorrectly, those people whose feet never touch dirt don't have much place to spend their lofty salaries other than on their clothes and apartments.

Someone spending the boggling amount of money spent on kitchens and baths could support someone making furniture for their living room. If I was an MBA student needing a research project, understanding this disconnect between market and supply is one I would investigate. But I have no interest in an MBA.

Re: Signs of the Times (semi-long)

#21

Re: I want it tomorrow

AZ in Colorado Springs

That's along the lines of what I was thinking. Our (the folks contributing to this thread) generation likes tools, wood, building things, etc. The younger generation is enamored with computer gadgets. How many generations of computers, cell phones, etc, have there been in 30 years? I have a case of CDs in my truck and opined the other day to my friend to lock the door so the CDs don't get taken. "Yeah, right." The youths all stream music from the web. They don't have CD players.

So what would be their interest in heirloom furniture? Furthermore, they're taught by their gadgets that furniture is less important. Who needs a desk to use a LAPtop computer? Who needs a bookcase when your book are in the cloud and you access them with a kindel?

How the times have changed.

Re: Signs of the Times (semi-long)

#22

Re: I want it tomorrow

Thomas Skaggs, Foothills of Mount Level

It is believed that all the gadgets contribute to forms of attention deficit disorder. Oddly enough, woodworking has done just the opposite for me. It has taught me patience and concentration.

Re: Signs of the Times (semi-long)

#23

Jason Roehl in Lafayette, IN

Re: Same message from different source

Jason Roehl in Lafayette, IN

Bill, you took the words right out of my mouth. I think there's more of a societal push to keep up with design fads in homes than there was 30-40 years ago.

When I started painting almost 25 years ago (contractor, not artist), almost everything was white or slightly off-white. Then there was a period of bold colors as accents against tans and beiges, or a generally warm color palette. That morphed into mostly muted earth tones with deep, dark colors as the accents. Then the last I knew, the fad was for light, cool colors in an almost sanitary look that I found disinviting and unwelcoming. This was all in 20 years, whereas it seemed to me that home decor fads used to last a decade or so, not 3-5 years. Now that I've been out of the business for almost 4 years, I have no clue what the current trend is, other than based on what I've seen on TV, I think we're still in the cool colors.

So, yeah, I agree that more people nowadays are more interested in their furniture fitting in with some overall home decor scheme than they are in it lasting for several generations. As such, it needs to be cheap so they can toss it to the curb every few years without a second thought.

Jason

Re: Signs of the Times (semi-long)

#24

Yet another nail... *LINK*

Jim Dillon

... in the coffin >( . Here, hopefully, is a link to a recent article regarding millennials renting furniture (sometimes with option to buy). Depressing.

Anyway, thanks Thomas (and all others) for sharing your thoughts on the changing woodworking scene. Even though I am just a hobbyist, I found the thread thought-provoking. Jim


Renting furniture.

Re: Signs of the Times (semi-long)

#25

Re: Signs of the Times (semi-long)

TomD

I know this one guy who is a very well known guitar guy, and also went into studio work with minor related art pieces. And later publishing.

Two things he said:

1) He moved into the art world, he didn't try to sell his guitars as art by, say, putting the necks at an unplayable angle or something. So you can chase the market with your talent, just modify. Guitars are often ornamented, so he struck off in taking his ornament to small pieces of stand alone art.

2) The other thing he said was that in art your CV is everything. Short of already being famous, how do people tell if you are serious? A fine arts degree means a bit. But he emphasized the importance of cataloging everything he did, every seminar, speech, article, show, etc... And he could use his guitar stuff there, presumably culminating in his book. It helped him, but that was almost 20 years ago, I don't know how far he got.

---------------------------------------------

3) 1 of my daughters has a stand alone art career going. She sincerely enjoys it, she is not very skilled yet, but I do find everything she does interesting. She gets shows all the time. Young helps, but she keeps her CV, there are people who have grants and need to get them used up. She has a very good ability to frame her work. What do they know? So it doesn't have to be a big deal. She is on target in terms of she is not a great woodworker, who is trying to get his work in art galleries, she is a new artist, trying to get her work shown. There is a path for that. I am not suggesting it will work in the long run, be she basically sold her first stuff. There is a difference between being a collegiate and olympic athlete.

I would not take my woodworking aptitude and try to get accepted as a surgeon, even though I did dexterity tests at a level the tester had never seen. But would you not know it, Lee did something like that. So hard path, not impossible for some.

4) How good were the guys in the past. I once did an article dissecting Nakashima. I love his work, and admire him. But he was the right guy at the right time. I think he hit because his odd style bridged a gap that only he was straddling. He was industrious, elegant, and many other things to boot. And there were many people who dropped out in the face of his work. But still, a lot of it is luck, even bad luck. His incarceration, the several cultures he straddled. The problem with craft today is we are all supposed to be artist craftsmen, in a world where the artists are probably going to rebuilt the Notre Dame tower in a way that will make generations to come wish for another fire, and most of the western craftsmen are self-proclaimed. You just have to do it because you can't do anything else, and in part that is extreme, but it is also what most of use do in our lives most of the time. Anonymity basically guaranteed.

Galleries are a filtration device, but basically they are just a business person with some money and a lot of passion taking a risk. No different that asking any other person whether they like your work.

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