PART 2 of Our Exclusive Interview with Tom Glynn

Tom Glynn is a rare breed: an artist who can move effortlessly between artforms, materials, scales and registers, equally adept at making miniature paintings and  monumental sculptures. And yet all of his work is unmistakably English in mood.  His images are populated by the country’s Neolithic monuments and pastoral landscapes, and informed by the many artists who inhabited those places before him.  Glynn is driven by the same Romantic spirit that motivated Palmer and Turner, Nash  and Piper, Wallis, Lanyon and Hockney, but his art is never anything but his own. It  is, after all, underpinned by an urge that has coursed through his veins since he first stepped foot in a sandpit. 

Dr. James Fox | British Art Historian & Broadcaster

What is the most expensive artwork you ever sold?

The most expensive piece of work I have sold is a very large sculpture, commissioned for the gardens of an exquisite London residency. The source of inspiration is my continued fascination and excitement of ancient monuments and semi-derelict structures, together with the sense of both the internal and external spaces that coexist therein.

Such structures contain, both preserved and decayed  components having been exposed to the elements. The coexistence of  these combined spaces revealed by ancient monuments provide a natural connection to humanity, civilization and the passage of time. The two non-parallel totem-like uprights, not by chance, have a significant  sense of ancient monoliths and of human symbolism.  

This structure has been built using wood, metal and some found objects and measures 2.3 meters in height.

How much do your paintings cost on average and how do you price your work? 

My paintings range in size, theme and medium and whilst I make very large and small paintings, the price can vary considerably. A small  painting may take me one to two weeks to complete, while a very large  painting will evolve over one to two months and involve more materials.

Typically, I have sold A5 to A4 paintings from $5,000 to $8,000 (dependent upon the dealer or gallery commission) and very large ones from $10,000 to $15,000.

My paintings will also be valued against my expertise, experience and reputation and of course every piece I make is unique and continues to increase in value. With regards to my sculptures and assemblages, prices are on application.  

How do you promote and where do you sell your art? 

My work is available on my website and social media. A selected collection is offered by saatchiart.com and via a London based dealer. I’m also promoted by sussex-artists.co.uk. The recently published book: “Tom Glynn – Paintings Sculptures Assemblages“, curated and written by Dr James Fox, has also had a good impact in revealing my work to an increasingly interested audience.

Who buys your artworks and with how many clients do you work on a regular basis? 

There are a range of buyers that acquire my work and this has involved buyers from Spain, Greece, North America, Canada and the UK. All my private collectors range in age from 30 to 70 years, as my work appeals to a cross section of society.  

I’m currently working with half a dozen patrons and one dealer based in  London. I often come across potential clients via friends, a range of connections and partly through word of mouth. My work is also easily available and accessible through my website.

Which paintings sell better, larger, or smaller? 

While this is a difficult question to answer, during a long period of working I would have supplied more smaller paintings than larger ones. Currently, and despite the pandemic, more people are collecting art and larger imposing pieces as the value never usually decreases; most works of art will of course increase in value and more clients realize that buying art is a favorable investment.  

How has COVID impacted your business and what changes, if any, did you have to make? 

During Covid-19 there was inevitably little contact with clients and organizations, although I remained in touch through email, zoom and social media. This allowed me to spend more time in my studio and I was  actually more productive, producing 25% to 30% more work, especially during lock-down. I continued to supply artwork, but there was inevitably a negative impact because of the pandemic. The only changes I personally made was to spend more time uninterrupted in my studio creating.  

PART 4 of Our Exclusive Interview with Tom Glynn

TomGlynnFineArt.com

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