Many successful professional artists get early recognition and are protected from their customers by dealers or agents who filter out adverse criticism, disinterest and misunderstanding. Other successful painters get known for a style or image which traps them into a repetitive world of painting more and more of the same. Luckily I have been a painter for over thirty-five years without the disadvantage of either early success, or recognition for one particular trademark.

When I left Art College it was necessary to organise myself as a self contained artistic enterprise, making and selling my own work. It soon become apparent that there was a great deal to benefit from direct personal contact with the public. There was more than extra income, much more. The first hand interchange with customers involved a specially rewarding dialogue and feedback which has provided encouragement and inspiration for my work. Members of the interested public appreciate, and want to see, diversity, skill, creativity, fun, vision, quality and sincerity. However, they do not understand, or forgive, and are not fooled by, the esoteric complacency that tempts many students and art critics, and they reject it instinctively. By necessity I opened myself to these reactions and found them refreshing, challenging and productive.

My work has been influenced by years of interactive polishing, weathering and input from many thousands of human reactions. The people who have bought, and live with, my paintings, most of whom I have met face to face, have inspired and motivated a variety of picture forms, I have had to unlearn the self -indulgence of intellectual art education, and realise that Art can be enjoyable to look at, and do, and be functionally decorative. It does not have to be difficult, mystical or superficially intellectual.

One outstanding observation has been that many more people will dislike any one painting than like it. An artist who opens himself or herself to public criticism is continually reminded of that fact. I am used to it by now. It still hurts when I am scorned, misunderstood or ignored. But it feels absolutely wonderful when something that I have created is appreciated, whether you buy it or not. When it works it is because you the public have helped me to understand how to do it. Thank you.

Colin Ruffell. 1997.