Getting your work out there (PR by another name)

This week’s blog is written by Yanny Petters, who has just heard that two of her works (Wild Strawberry and Floral Alchemy) have been selected for the Art of the State Exhibition 2013 ‘Encounters’,  the latest in a series of annual joint art exhibitions organised by the Department of Finance and Personnel (DFP) in Northern Ireland and the OPW in the Republic of Ireland.  The exhibition will tour Ireland by travelling to four destinations, two in Northern Ireland and two in the Republic. Destinations this year will be Derry, (City of Culture 2013), Lisburn, Cork and Limerick.

I was asked to write a blog on the subject of PR, and I’ve been trying to gather my thoughts on the subject to cover a time when the methods of getting our art work noticed are changing almost by the day.

Really what I can offer is just my experience from my starting out as an artist in the early 1990s when everything still went by ‘snail mail’, to the present day when facebook and twitter are the norm.

Starting out
When I realised that I wanted to work as a professional artist I was working on a Community Employment (CE) scheme at Signal Arts Centre in Bray where I learnt a lot about PR in the sense that I had to deal directly with people visiting the gallery as well as doing community work.
Presentation was all-important, as it still is of course, so having a striking image was essential, but there were other elements which continue to be vital, and one of most important of these is: making connections.

The press
Firstly, to get the press to take notice you need to think about what the various newspapers or magazines are looking for. This usually includes the mention of ‘local celebrities’, politicians and photo opportunities. A carefully drafted press release is vital and should include lots of catchy words, describing the ‘not to be missed’ event. There are good guidelines on the web for press releases. It’s also useful to be able to drop a few ‘important’ names, mention awards, celebrities, sex if possible … in other words all the things that sell papers! And remember: personal stories are popular.

The publication dates of the papers/media outlets you’re targeting need to be established as well as a contact person. Many’s the beautiful press package was sent to The Editor only to be ‘lost’ because it wasn’t sent to the right name. So, the research is important, as is following up after you’ve sent the information (by whatever media) with a phone call: this is key to getting things noticed.

All media are constantly being bombarded with information, all clamouring to get published, and my experience is that it takes time to build a relationship with a publication to get a look in.
Some will only give you editorial space if you also advertise for instance!

The images
At all times the image supplied is vital, that it is strong in colour and structure. Local papers prefer pictures of people, so the artist hanging the exhibition would be more likely to be published than a painting. Asking them to send their photographer sometimes works. And with newer media now, perhaps we need to design ways of being visually irresistible even when seen on the little smartphone screen.

Stay connected!
More than the published media I found that collecting names of people interested in my work over the past 18 years has been extremely important. While they support my exhibitions and buy my work they also spread the word. I have found too that by printing greetings cards and calendars and by teaching I have been able to extend the list and also keep my name out there.
I think it is still very important to keep personal contact with the publications: if you have a friend or family member who works in the Irish Times or the Irish Arts Review, don’t fall out with them, whatever you do!

Newer media such as facebook and the web have of course helped hugely. While the artist is competing all the time for attention, if you’re inventive with how you use the web, the information can circulate rapidly. I am lucky enough to have an agent who is very good at all that stuff which frees me up to paint! I also have a media-savvy husband who is in charge of my web site and facebook page (lucky me!).

I expect the way forward is mainly through the internet so the thing is to find eye-catching ways to present yourself. The average punter’s attention span is quite short, so we need to get noticed, and be seen regularly, to stay in people’s minds.

Good luck to the ISBA. This wonderful dynamic group should have the media sitting up with their ears pricked!

Wild Strawberries by Yanny Petters

Wild Strawberry by Yanny Petters (image copyright Yanny Petters 2013)

Floral Alchemy by Yanny Petters

Self Heal by Yanny Petters (image copyright Yanny Petters 2013)

Yanny Petters Floral Alchemy Exhibition


Taraxacum officinale ~ Dandelion
Verre Églomisé/painting on glass 42cm x 39cm

“My work is inspired by the minutiae of nature. I explore the detail, colour and form within the realm of nature and the environment. My wish is to share with the viewer my fascination with the beautiful and bizarre, in a world which we all too easily take for granted.”             Yanny Petters

Yanny Petters’  Verre Églomisé panels are beautifully crafted and exquisitely rendered, drawing attention to those humble plants that most of us consider to be weeds. She says,

Vicia sepium ~ Bush Vetch painting & gilding on glass  Verre Églomisé   42cm x 39cm

Vicia sepium ~ Bush Vetch
painting & gilding on glass Verre Églomisé 42cm x 39cm

“Wild plants are an essential part of the symbiosis of the earth, giving humanity the basis for medicine, food, dyes and garden flowers as well as many other uses. I have always had a particular interest in Irish wild plants; the act of exploring paint techniques to depict these plants has been both fascinating and educational.”

It was whilst training as a signwriter that Yanny first came across the technique of Verre Églomisé and fascinated by the possibilities, she began to experiment and to develop her own unique style. Verre Églomisé involves painting on the back of glass using opaque colours and gold leaf and dates back to the Middle Ages. At that time, the typical subjects were religious icons and depictions of significant figures. The frequent use of gold leaf often made these panels very valuable and as the glass was hand blown, paintings on glass were restricted to small dimensions.

  Papaver rhoeas~ Common Poppy Verre Églomisé /painting on glass  42cm x 39cm

Papaver rhoeas~ Common Poppy
Verre Églomisé /painting on glass 42cm x 39cm

Yanny’s love of the illustrated Herbals of the 16th century has also influenced her creative path. These early illustrations of plants, used to identify medicinal varieties, were printed from engravings or wood cuts. Just as with the traditional Verre Églomisé, paper and vellum were very expensive and limited in size, so the artists had adapt the shapes of the plant into the available space to give a pleasing design, whilst still conveying accurate information, although sometimes with artistic licence. A couple of better known examples of these would be Tabernaemontanus whose prints are in John Gerarde’s ‘The Herball’ (1597) and Petrus A. Matthiolus (1565) whose cuts were copies from Leonard Fuchs (1545).

Yanny’s work is the product of many long hours of careful observation in the field. From these field drawings Yanny designs each panel on paper. The glass is then etched with acid, and in some pieces, she also engraves elements of the design giving the artwork a soft line and sparkle. Colour is applied in a series of carefully selected layers with the highlights being applied first. Gold leaf is applied to certain parts of the design giving a reflective quality to these areas. The finished painting is sealed with a layer of varnish or paint effect.

Trifolium pratense~ Red Clover painting & gilding on glass  Verre Églomisé  42cm x 39cm Yanny Petters 2013

Trifolium pratense~ Red Clover
painting & gilding on glass Verre Églomisé 42cm x 39cm
Yanny Petters 2013

Her work can be found in many important collections, including Dr. Shirley Sherwood’s Gallery at Kew Gardens, London, and in the National Botanic Gardens, Dublin.

Yanny’s exhibition of Verre Églomisé panels, Floral Alchemy is currently on at The Olivier Cornett Gallery until May 24th 2013.  Just like an Alchemist, in her hands weeds become as precious as gold, and pictures of wild plants become as valuable as icons.

For more information and how to get to the exhibition, go to   

Her work can be seen on her website

A very interesting essay comparing Yanny’s painting of ‘An Irish Meadow’ to Albrecht Dürer’s ‘The Large Turf’ can be found here