5   THE ART OBSERVER July 2006 Ian’s first solo success By Sarah Crane FOR IAN JARMAN’S first solo exhibition throughout May at the Wendy Levy Gallery, everything went according to plan and even better than the artist himself had expected “there’s always a worry initially, but I was absolutely delighted with the success of the preview”. Ian loved the buzz surrounding his exhibition and has since received many complimentary reviews. Art lovers and enthusiasts alike travelled from all over the UK to catch a glimpse and purchase work of the latest talk of the contemporary art town. Ian has come a considerable distance since his early days working in the graphics industry. During these years, he would focus his freehand talent on tight pen drawings, a world away from the paintings displayed in the exhibition. So what changed? After realising that the graphics business didn’t fully satisfy his artistic appetite, Ian began relaxing and also enjoying painting as a pastime rather than being constrained by deadlines. Fortunately for him, his favourite hobby has transformed into a full time profession. He admits to working more effectively when painting under his own instruction than when influenced by external restraints and is thus left undisturbed to paint in peace. Ian is never quite sure how his paintings will turn out once he begins. He likens the process of painting as similar to being in a type of zone. As soon as he starts, his thoughts are temporarily switched off and he works on auto-pilot. Only when he ‘wakes’ can he take a few steps back and view the picture he has created. Ian isn’t completely isolated in his ‘zone’ however, and more often than not enjoys listening to music which in fact, can spur his work along. Bands of choice vary dramatically from the critically acclaimed, four-piece indie outfit the Arctic Monkeys to the freestyle jazz of pianist Cecil Taylor. When asked where he’d like to be in 10 years, Ian modestly replies “doing the same but being better at it. I’m just so lucky to be doing something that I love“. With each new work, he sees himself improving on his innate art skills. Ian doesn’t rule out the possibility of combining his traditional drawing style with his current style, so watch out Jarman fans, this man may have a few surprises yet to come. Bottom left: Phil and Helen Connelly enjoying the preview Top right: Glynn Hughes admiring his purchase ‘Towards City Road Inn’ Bottom right:Terry Eaton viewing ‘City Glows’ knutsford exhibitions ltd By Wendy Levy In February of this year a “Droit de Suite” was implemented in this country which entitles living artists to a royalty each time their art work is sold by a gallery, dealer, auctioneer or agent. The rule does not apply to works of art that are being sold for the first time on behalf of the artist but on those pieces that are then resold in the marketplace. This law has been introduced in the UK following a European Union Directive. l The law applies to sales of art works which are sold for 1000 Euros or more (approx. £680) l Only those art works which are sold in the secondary market by art market professionals will quality l Art works which are sold for the first time, such as new work, will not qualify for the resale right. Nor will sales which occur between private individuals l Royalty rates are calculated as a percentage of the sale price on a sliding scale from 4% (for the lowest value works) down to 0.25% (for the highest value) l The maximum royalty an artist can earn from a resale is capped at 12,500 Euros (approximately £8,500) l Only those artists who are nationals of the UK, the European Economic Area and certain other countries will benefit This may be full of good inten- tion but is more likely to be the result of generally unwanted EU diktat. There are many people within the art market who feel that this ruling has not been thought through sufficiently. There is some ambiguity regard- ing who should pay the royalty, whether it should be the art professional who is acting as the agent or the person selling the work of art. Either way it means the purchaser is likely to have to pay more for the item in order to cover that extra cost. One of the best things that can happen to a living artist is that much of his work sells in a secondary market because this usually leads to increased prices, therefore enabling the artist to charge more money for his new works. The rule will discourage many galleries from becoming involved in a secondary market sale when they could just as easily sell new work that doesn’t attract the royalty, thus slowing down the growth of the secondary market for those most in need of it. Let’s be honest - it’s not really the artists who are already bringing high prices at auction who actually need the extra money, it’s the ones relying on gallery sales that will feel the pinch.   This illustrates how short-sighted this rule is. It also begs the question “Why should artists be entitled to this royalty when others are not?” Yes, we know that composers and writers have the same entitlement but what about architects, builders, furniture makers, jewellery makers and designers of cars? Why should they be exempt from such royalties? But please, let’s not put ideas into anyone’s head or we may find ourselves having to hand over even larger sums of money when moving house or changing the car. Heaven forbid! There was absolutely nothing wrong with the way the art market conducted itself in the UK before the intervention of the EU. There is a saying “If it works, don’t fix it”. Now we’re sure to find the wheels start dropping off. European Union bureaucracy creates Artist’s Resale Right