Cheap Art Manifesto

peace_sign_shadow-illusMany years ago during the hippie era, we dreamed of a free society where everyone had access to what’s important in life… including art.

The following flyer, distributed by the Bread & Puppet Theater, is a classic example of our dreams. The date on this flyer is (ironically?) 1984 — when the hippie movement was reacting to the self-serving 1980s — but the sentiments are timeless.

I wholly support this manifesto. This is one reason why I put free art online for you to print out at home, as often as I can. It’s why, in 2004, I cut my workshop prices in half, and then taught a series of entirely free art classes, too.

It’s why I protest when anyone is making an immoral profit from art and/or artists. And, it’s why those who are making immoral profits won’t like what I’m doing… though they’ll use other excuses.

However, there is one line in the manifesto that may confuse you as a professional artist: “Art is not business!”

In the hippie context, and as Bread & Puppet said, the Cheap Art movement was launched “in direct response to the business of art and its growing appropriation by the corporate sector.”

That is, it’s a mistake to treat original art like any/every other commodity. Business cannot control it. Art is unique, by definition. When it loses its originality, it’s something else; that’s a discussion for another day and another webpage.

The point is, if you try to make a fortune off art, particularly at the expense of others, you drive prices into a range where the average person can no longer afford them. And, in my opinion, that is immoral.

Even as a highly successful artist whose works regularly sell in four- and five-figure ranges, you have to make some art available to everyone regardless of their incomes or budgets.

Here is the Cheap Art Manifesto. Feel free to copy it, print it, put it at your own website, and share the message with others.

(Though the footer on all of my webpages automatically says “copyright…,” any time I say that it’s okay to copy or print something, it is.  The Cheap Art Manifesto has no copyright.)

You’ve never seen art like this

soap75Years ago, when I worked in fashion in Los Angeles, a co-worker at the May Company told a great story about a desperate ad campaign.

He’d had just a few hours to write a newspaper ad for the ugliest argyle socks ever made.

He wrote this headline: “You’ve never seen socks like these!”

The socks sold out the first day.

Obviously, one should never underestimate the power of a good headline… and the way that curiosity will attract people.

What’s among biggest hurdles at a large art show or crafts fair? Getting people to your booth… before they’ve spent all their money at other booths.

Bring a friend or hire someone to mingle in the crowd with half-sheet flyers that have a clever headline. It could be a direct steal from the argyle headline such as, “You’ve never seen yarn like this!”

That might be enough to bring customers to your booth. Or, you might want to add an extra incentive, offering them an extra freebie. Maybe you have a free, vintage knitting pattern for them. Or you offer free gift wrapping. Or… well, anything free is a good idea.

If you know a food vendor who’ll be working at that fair, maybe you can offer your shoppers a “10% off ” coupon for a large beverage from that vendor. Though that will send shoppers away from your booth, it may be enough to get them to your booth in the first place. Then, your challenge is to sell them something before they leave.

You might also ask the food vendor to give his or her customers a coupon good for something free or discounted at your booth, as well.

Curiosity is a powerful sales tool. Adding a freebie may not be necessary, but it can help.

The game at any art fair or crafts show is to attract shoppers to your booth before they’ve spent their money elsewhere, or bought from a competitor.

Advertise at the show, as well as before it. Be creative. After all, that’s what you do best!

Planning for your future

artist-monalisaval-jThis morning, I read Seth Godin’s blog in which he posted a joke set of predictions for 2008.  (He claimed to have written them in 2002.  Obviously, he’d written them this week.)

But, as he concluded his post, he stated his point very well:

“…just think about how impossible it is for your to predict what your life is going to be like in four or six years… being ready for anything is the only rational strategy. So, why exactly are you planning on the future being just like it is now, but with better uniforms?”

THE FIVE YEAR PLAN

Many of us have accepted traditional goal-setting strategies.  They include looking ahead five years to what you can reasonably achieve, but perhaps with a slightly starry-eyed vision.

That’s where I recommend a shift to the Getting Things Done view, mixed with a little of Stephen Covey’s Seven Habits…

Think in terms of wild success.   I mean success beyond your wildest expectations.  How would that look?  How would your life be different?  What would your workday be like?

And then, plan for that.  Take the steps to integrate those changes into your life right now.

Remember what you’re doing this for.

LIVE YOUR GOALS… NOW

Is it to be a successful, well-paid artist?  Well, do you dress like one?  What about your car… is it as immaculate inside (and out) as it would be if you had a chauffeur to maintain it for you?  Do you always have nice, upscale business cards with you, to hand out to fans (or people you’d like to have as fans or clients)?

Are you doing this to be famous for future generations?  Okay, what are you doing to create a name for yourself, right now?  Do your PR strategies include getting your paintings into highly visible locations, such as your town offices, state offices, the offices of your Congressional reps, every local museum… and then work up from there?  Have you contributed (or contributed to) a very visible mural in a public space?

Are you working on your art so you can be a full-time artist?  That’s great; how much time are you dedicating to your art.  I don’t mean the commercially successful art that can be the first step into the marketplace. I mean strange, deeply expressive and authentic art that may never match the colors in anyone’s sofa, and may only make sense to you.

The fact is, no one can predict the future with certainty.  The five-year plan was fine when five-year intervals could be predicted.  Today, life moves and changes at a vastly faster pace.

Don’t plan for the forseeable future.  Plan for a wildly successful future.  That’s what’s within your reach, and perhaps sooner than you think.

Start now.  Plan with the end in mind:  Success beyond your wildest dreams.

Yahoo Groups – changing moderators

Do you need to change a Yahoo Group moderator or owner? Here are step-by-step instructions.

I’ve started around 20 (or more?) Yahoo Groups, including AJmarketing, wildartdolls, and ArtistsJournals2 (AJ2, now WAJ2).  When they become too popular for me to manage, I generally turn them over to new owners and moderators.

So, when people need to change Yahoo Groups moderators or ownership, they often ask me how to do this.  Here’s my reply:

Here’s how to switch moderators/owners at any Yahoo group:

1. The current moderator/owner goes into the list of members.  That’s accessed by clicking “Members” in the left column at the Yahoo Groups page.  See the long, tall graphic at right.

2. Click on “Edit membership” under the name of the person who will be the new moderator/owner.  (See the second illustration, below.)

3. Click on “Change to owner” … or “Change to moderator” if that’s more appropriate.

4. If the person is simply being appointed as a moderator, the owner will assign privileges in the next screen… how much the new moderator is allowed to do, that affects the entire group.  (For example, unless the moderator is trusted, the owner might not want to give him or her permission to delete the entire group.)

5. Click “Make moderator” or “Make owner” at the foot of the page.  At the next screen, if you’re back at the individual’s membership screen, click “Save changes”. (That’s important.)

6. The new moderator/owner will receive notice of the change, and may have to reply that it’s okay.

7. If the old moderator/owner is leaving, he or she will go to his (or her) own membership page in that group, and select “Make member.”  Be sure to save the changes similarly to what you did in step 5, above.

8. If the old moderator/owner is leaving the group, he or she will then choose “Leave  group” at the group’s homepage. (There may be a similar option at the membership page.  Either one will work.)

That should do it!

The importance of leverage

Today, I was reading a blog entry by Rick Sheffren, Leverage: Maximize your income in minimum time.

It reminded me of the potential leverage of past accomplishments.

As artists, we don’t always pause to update our resumes (CVs).  We participate in swaps, group shows, and see our works published in zines and magazines… and all we do is tell our friends.

Everything that you do as an artist holds the potential to move your career forward.

No matter how small the project, or how many other artists were involved, your participation is still news.

It doesn’t matter if you were part of the project because it was open to the public and you simply signed up for it.  Frankly, art collectors don’t always know which are invitational projects and which aren’t… and many don’t care.

It’s the quality of your work that matters, as well as the audience that see it.

Sign up for every project that you can, if you can participate with quality work.

Then, be sure to add your participation — and a photo or scan of the art — to your website and your CV.

Some of your most powerful leverage is what you create for fun.  That’s where the best energy can be, and it’s the energy — not necessarily the technical expertise — that separates mediocre art from art that soars!

Beginners, unite! Consign your way to success.

Every year, new art galleries and crafts shops open. Often, they’re launched on a shoestring. They need consigned items to sell.

Every year, new artists and crafters decide that this is the year they’re going to launch their careers. They need places to show their artwork.

New shops and new artists can help each other. But, since both parties are beginners, it’s important to consider a few important points.

First, can you afford to consign your work? If you need income this week, you’ll do better if you can find a shop to buy your work, outright.

On the other hand, it can be brilliant business strategy to consign your art in a shop that becomes a local (or tourist) favorite.

Consignment works like this: You provide artwork for the gallery or shop. When it sells, you get part of the selling price, and the shop gets the rest. It’s not unusual to see a 30-70 split (the shop keeps 30%) or a 70-30 split (the shop keeps 70%).  The latter should probably be avoided.

In a perfect world, the split is about 50/50. After all, you’ve put time, materials, skill, and originality into your work. The shop is showcasing your work, providing valuable wall, floor or counter space for it.

Consignment can be great, ho-hum, or a nightmare. There are many factors.

QUALITY and QUANTITY

Are the shop’s standards high enough? Your art can shine in a setting with a good mix. However, if visitors take one look at most of the art and say, “Ick,” they may never even see your work.

Likewise, if the shop can’t find enough good artists and it’s obviously half-empty, that drives away customers. At the very least, they want a shop or gallery that provides a wonderful browsing experience.

However, if the shop owner does business with a collection of great artists, you can be in fabulous company… and build your reputation while you increase your income.

Visit your markets regularly and be sure that your work is shown in the best possible light.

PAYDAYS and PRICING

How soon will you be paid? If you aren’t paid within 30 days after the work sells, you may want to look for better opportunities.

Who is setting the prices, and are they in the correct range? If you’re new and the shop owner is as well, consider getting a second opinion about the prices. Items won’t sell if they’re priced too high or too low. (From my experience, items are generally underpriced. If your art isn’t selling, try a higher price for two weeks and see if that helps.)

SUPPLY and DEMAND

In the past, I’ve worked with multiple consignment shops and galleries each summer. Some of them will succeed and some will fail. However, a few will sell my work so rapidly, I may have to phase out the less successful shops, just to meet demand.

Even though I’ve supplied galleries and shops for many years, I still can’t predict which items and which shops will be successful.

It’s important to be on good terms with the shops you deal with.  Open communications — and flexibility — are vital.

INSURANCE

Discuss risks with the shop owner.

If there’s a fire, or the sprinkler system dumps water on everything in the shop, or if your work is stolen, what happens? Either you or the shop owner (or both) should have insurance, or be willing to cover the risks.

The shop owner may want you to carry insurance, as well. For example, if you’re making children’s toys, be sure you have liability coverage. It could be a shock — and a huge expense — if you have to recall 200 wibbly-wobbly toys because the manufacturer recalled the plastic eyes that you used.

(That said, those kinds of disasters are rare. Insurance can turn disasters into speed bumps instead of career stoppers.)

FLEXIBILITY

Although I wholesale some of my crafts to shops, I like to work with at least 50% consignment galleries each summer. (That’s my favorite tourist season in New England.)

The reason is simple: I love the flexibility of working on consignment.

If I get tired of making a particular item, I can simply discuss alternative products with the shop owner.

If a line of products doesn’t sell, I can take it back and place it in another market where it will sell. And, I can put different items in the shop where they collected dust. Everyone wins!

If I’ve committed to a shop and delivering the art is more trouble (or expense) than I expected, I can renegotiate terms.

A LITTLE OF THIS, A LITTLE OF THAT

Generally, I wholesale enough crafts to cover my basic expenses. After that, I focus on consignment shops and galleries. I negotiate good commissions, I work closely with new shop owners, and we all have fun.

I work primarily with seasonal shops and galleries… stores that open in June and close when the tourists go home. I work all winter, building my inventory, and then I can take most of the summer off. Most of my ‘work’ in the summer involves visiting my favorite tourist areas, checking on shops, and delivering products. Then, I go to the beach. Or the mountains.

CONTRACTS ARE THE KEY

Consignment shops and galleries can be a great way to launch your arts and crafts career. You can reduce the stress on both sides, by having a clear agreement with each shop owner.

Start with a standard contract, and modify it to suit your needs.

Here are some sample contracts, online:

Sample Artist-Gallery Consignment Agreement, from Michael Dunn

Sample Consignment Agreement for Artists, from Mark Henson

Consignment Agreement Contract – free sample

Some “worst case” advice, from attorney Richard Stim: Consigning Your Arts and Crafts

RECOMMENDED READING

It’s smart to consult books about consignment art sales and artist-gallery consignment contracts. The following are two of the best.

Business and Legal Forms for Crafts

The Artist-Gallery Partnership

Recommended: Annual meetings

Party balloonsIf you want to meet other artists and talk with them about local resources and outlets for your own art, here’s one great approach:  Join art associations and clubs, and — here’s the important part — go to their annual meetings.

Unlike some corporate annual meetings, art associations’ meetings can be very sociable and fun.  Frequently, the associations’ important issues are discussed and voted on, board members are elected, and then everyone stays to chat.

Often, refreshments are served. (Volunteer to help the refreshment committee, for extra networking opportunities.)

Invariably, everyone discusses his or her art career.  Here’s the most important thing that you can do: Listen!

You’re there to learn from others, and — given a chance — they will tell share valuable information.  They’ll talk about where they’re showing their art.  They’ll talk about the gallery or shop or fair that was a bad experience.  They may say where they found a great deal on frames, canvases, bulk orders for batting or fabric… and so on.

Oh, it’s fine to ask questions about how you can get into a specific gallery or shop.  You can inquire about a store or show that you’re not sure about.

Start by listening to everything others say.  Don’t interrupt with your questions or comments.  Let them talk.  Agree when your experiences have been similar.

Then, when they’ve said everything that they wanted to, ask a few — just a few — of your own questions.

You can form many wonderful, genuine friendships at these kinds of meetings.

In conversations like these, I’ve learned about other, useful groups.  I’ve connected with other artists working with similar media to mine, and we’ve put together orders to buy our supplies in wholesale volume.  That cut my production expenses by nearly 50%.  I’ve met members who were opening their own shops or galleries, and were looking for consigned artwork to sell.

Attending meetings has been incredibly beneficial.

Many art associations and groups hold their big, annual meeting around May or June.  Others schedule them near the end of the calendar year.

Those meetings are one way to meet a large number of active artists, and find ways that you can help each other.

And, in some groups, the annual meeting is when members sign up for major upcoming shows or other opportunities.

Join local art groups, no matter how humble or lofty.  Go to their meetings, especially the annual meeting.

You’ll learn a lot and share what you know with others.  Meetings are usually a wonderful, relaxed opportunity to meet other artists and network with them.

Choosing an unjuried show

Potter at a wheelHow do you choose a ‘good’ art show or crafts fair when you’re a beginner?  A few simple cues can help you, plus one reliable source.

The first cue is the quality of promotion.  Does this fair have an online presence, and does their site look professional.  (If not, tell them about my book, Sites that Soar!)

Do they advertise in local newspapers and magazines, or even in national ones?

If it’s a small show–perhaps a fund-raiser for a school or church–many crafters ask if they’ll have a food concession.  If the show is professionally catered, it generally marks a well-run show.

Another cue is the sponsorship.  If it’s an annual show put on by a town, there may be tremendous pride in how well the show is run.  That’s a plus.  If it’s a first-time effort by a youth group, it may be great, or it may be a lesson for everyone involved.

Check the show’s policy about vendors leaving early.  Empty tables discourage shoppers.  If the show lets vendors leave early without a penalty, the show can deteriorate pretty quickly.  Many top shows declare that any vendor who leaves early will not be accepted for future shows.  That sounds harsh, but it can be necessary.

If the show or fair is an annual event, the most reliable sources of information are other artists and crafters.  Ask them.  Online forums are useful, but–even better–ask people at other shows.

Ask your customers.  “What other shows and fairs do you like?” can be a conversation-starter, and provide insights into what shoppers are looking for… as well as a list of worthwhile shows.

When the day is winding down, ask other vendors, too.  Sometimes, your direct competition won’t chat with you, but crafters in other fields will.  Ask them which shows they really like.

If you’re considering one show in particular, ask about it.  Talk with several people so you hear a variety of opinions.

While you’re asking, get tips about preparing for that show.  For example, are extension cords vital?  Is there a parking area near the door for vendors to unload their cars and vans?  Do the sponsors provide chairs or should you bring your own?  (Is a pillow a good idea if their chairs are plain metal folding chairs?)  Will most booths be merchandise on a tablecloth, or will some vendors set up impressive, professional-looking displays?

Take notes.  After a show, you’re likely to be tired and forget at least some of what you learned.

Also, jot down notes from the show you were just at.  What worked and what didn’t?

When you plan your schedule next year, your notes–about past shows and prospective ones–can help you make better decisions.

Keys to successful art shows: Have fun

Art fairs and art shows can be great or totally boring. What makes the difference? You do.

Many artists don’t like to hear that, but it’s true.

When I was a Guest at Dragon*Con 2007, I visited the”Walk of Fame” to see a few friends and buy some autographed photos.

One of the busiest booths in the room belonged to James and Oliver Phelps, who portray the Weasley twins in the Harry Potter movies. In fact, fans were waiting in a line that went fromtheir booth to the door on the opposite side of the hall.

That line was so huge, it was so difficult to walk across the room to get to other booths. Several other celebrities weren’t happy… and weren’t selling many photos. They saw themselves as competing with the Phelps brothers.

What not to do

I approached one celebrity in the room, whose photo was on my “must buy” list.

I said hello. He looked at me somewhat sourly, and didn’t say anything. Well, that could be part of his marketing, since his onscreen character is scathingly sarcastic at times.

I asked for an autographed photo and paid for it. “Are you having fun?” I asked.

“As much fun as you can have sitting in a chair all day,” he replied with some annoyance.

“But isn’t this great, with so many fans and such great costumes to look at?”

“I suppose so,” he sighed.

I wished him a good day and walked off.

Figuring that I should give him a second chance, I returned to his booth the next day. His demeanor hadn’t changed, and no one was buying his photos.

What to do, instead

Throughout the convention, I kept hearing about Marc Singer. People raved & raved about him, talked about what a great person he is, how they’d have to see what he’s doing in films and on TV, and so on.

Why? It’s simple: He greeted people with a smile. Even though his booth was in a hard-to-find corner, he stepped out from behind the table, shook hands with people and cheerfully posed for photos. He clearly cares about the fans. (He’s an excellent artist as well.)

Even on the train to the airport, I was still overhearing conversations about how great Marc Singer is. With over a hundred big-name movie celebs in attendance, that says a lot.

How this applies to you

When I have a space at an art show or an arts & crafts fair, I sell the most–and win the most awards at the show–when I set up an easel or a work area… and work.

I position myself so that visitors can see what I’m working on, but they also see me in profile as I work. (In other words, I don’t turn my back to them.)

I chat with people as they walk by. I shake hands. I hand them a flyer or some freebie that has my website info on it, and a list of galleries and shops that feature my work. If I’m teaching, I mention my next gig. (Art shows are about PR as much as sales.) And, I continue to work.

People like to be able to say, “I bought her art, and I saw her working on something new. It was so interesting to see…”

You don’t have to create art at the show or fair. However, do something (smile, hand out something free…) that makes it easy for guests to interact with you.

In other words…

People buy your art, not just because it’s “pretty” or “interesting,” but because of the energy that’s in it. As an artist, you need to convey that energy personally, as well. That’s what confirms the importance of owning your art and having it in their home or workplace.

Put great, attractive energy into your art, and into how you present yourself.

The quality of your energy–and how accessible it is to others–is key. Decide to have a great time, no matter what, when you’re at an art fair or show. That’s what Marc Singer did.

No matter how frantic you are to sell, don’t get “needy” about it. (Needy people don’t get dates and don’t remain in relationships for very long. It’s the same in every context: That “needy” energy isn’t attractive. It’s a sucking black hole rather than an effusive and dazzling energy that people want to take home.)

Treat an art fair or show as if it’s a party and you’re there to meet very cool people. Be the life of the party, and you’ll win fans and customers.

” Your needs will be met once you can find a way of projecting energy and fulfilling someone else’s need.” — Stuart Wilde

“Making art is a lot about just seeing what happens if you put some energy into something.” — Kiki Smith

“In the end it all comes down to enthusiasm.” — Stuart Wilde

The Quadrants, revisited, by Robin Retallick

Let’s begin by understanding a couple of things here:1. If you’re reading this, then you may be among those looking for a “fix” to life. We see others that seem to have it all, and we can’t seem to get ourselves organized. If only we could find the secret to success. Well – read on.

2. All of our life is spent in the NOW. Yet how much of NOW do we spend being regretful or anguished about the past, or worried about the future? Answer (for most of us) – a lot!

So let’s think a little about what to do in the NOW that’s right now – what to do first.

Stephen Covey’s Quadrants

Let’s look at Stephen Covey’s quadrants from his best seller “The 7 Habits of Highly Effective People“. As Covey himself admits, this is just common sense – but it sure helps to have it laid out logically. If we classify what we have to do in terms of both Urgency (X-axis) and Importance (Y-axis), then we get four quadrants:

1. Important & Urgent
2. Important & Not Urgent
3. Urgent & Not Important
4. Not Urgent & Not Important.

If you’re feeling overwhelmed, it means you’re spending a lot off time in Quad 1. What Covey shows us is

A. If we allow ourselves to be driven unconsciously by the “tyranny” of the urgent but (mostly) unimportant (Quad 3), then we’re condemning ourselves to more of Quad 1.

B. The more time we spend in Quad 2, the less we will spend later in Quad 1.

So for the overwhelmed, it’s good information – make a chart of your To-Do’s and plan differently.

But for most of us, it’s not the best model for organizing our lives because much of the time, we’re quite capable of putting off important stuff – be it urgent or non-urgent. In other words, we procrastinate.

Ken Blanchard’s Quadrants

Ken Blanchard (“The One Minute Manager”) in his latest (“The On-Time, On-Target Manager”) lays out his quadrants a little differently:

1. Have to Do, Want to Do
2. Have to Do, Don’t Want to Do
3. Don’t Have to Do, Want to Do
4. Don’t Have to Do, Don’t Want to Do.

Most of us don’t have a problem with Quads 1 and 4. If it’s Quad 1 we just go ahead and do it. If it’s Quad 4, we just never do it – no big deal. It’s Quads 2 and 3 where the issues arise because many of us gravitate to Quad 3 at the expense of Quad 2, meaning things that do have to be done don’t get done.

The Blanchard advice is to do them in the order Quad 2, Quad 1, and spend little or no time on Quad 3 items. To use this model, once again chart your To-Do’s and plan accordingly. You will be better “organized”.

Working With Quadrants – A Suggestion

My problem with both of these is that, in my experience, none of us will continue to do things we don’t want to do unless we’re forced to do them. We may be forced by a boss. But if the boss is us, then unless we can get pleasure from the very knowledge that we’re now “organized” (and some can), we’re still not going to stick with it.

If that sounds like you, then you’re normal and sane and you’re not weak and you’re not poorly disciplined – so get off that kick. And here’s the good news – you’re not condemned to have less in life than those mythical “other” “better organized” people out there!

If you’ve considered the Blanchard quadrants, think for a minute about what determines why you would ever “want to” do something. Answer – because it’s fun, because it brings you joy, lets you feel good. I’m going to suggest we substitute the words “inspired to” rather than “want to” because it implies what’s actually happening here – there’s a collaboration going on between you and your inner self – your inner being – that’s causing this feeling. And nothing nada, zilch, zip ? is more important than feeling good.

Now let’s look at the “have to” bit. I’m suggesting here you think about these as the “must” do’s and the “should” do’s. The rest are “could” do’s.

1. Should/Must Do, Inspired To Do
2. Should/Must Do, Not Inspired To Do
3. Could Do, Inspired To Do
4. Could Do, Not Inspired To Do

Now segment your To-Do items and look at how many lie in each box. Starting from the bottom, Quad 4 is sort of a catch-all bucket for all sorts of things. There’s not much energy involved so you can safely ignore these items.

Next let’s look at what’s in Quad 2. If you’re typical, you’ll have lots of entries here. You may find that this is where you hang out a lot.

Quads 1 & 3 are where you need to be. In other words, in order to be truly “organized”, the task is to get the stuff in Quad 2 into 1, 3 or 4. You can work in Covey mode, or you can work in Blanchard mode. But if you truly want to break out of the rut, your “work” is to change the way you think and get inspired.

First things first

True time management and personal development means that you need to spend some time each day in quiet mode – either meditating or visualizing what you want. If there’s no time in your busy day to do that – make time. This is your truly important task. And as you do, ideas will come.

You don’t have to take quantum leaps. You don’t have to put yourself into a tailspin by quitting your job, or your relationship. If you spend quiet time, ideas will come to you and opportunities to take advantage of those ideas will come to you. In an easy and relaxed manner, your life will become what you’re visualizing.

A few quotes

“Follow your bliss, and doors will open for you that you never knew existed” – Joseph Campbell

“What we ponder and what we think about sets the course of our life. Any day we wish; we can discipline ourselves to change it all. Any day we wish, we can open the book that will open our mind to new knowledge. Any day we wish, we can start a new activity. Any day we wish, we can start the process of life change. We can do it immediately, or next week, or next month, or next year.” – Jim Rohn

“Whatever your mind can conceive and can believe, it can achieve.” – Napoleon Hill

“Stop thinking trouble if you want to attract its opposite; stop thinking poverty if you wish to attract plenty. Refuse to have anything to do with the things you fear, the things you do not want.” – Orison Swett Marden

The breeze at dawn has secrets to tell you. Don’t go back to sleep. You must ask for what you really want. Don’t go back to sleep. People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don’t go back to sleep. – Rumi – a Sufi poet

Robin Retallick is a business owner and CEO who, like many of us, is on a journey of discovery seeking some of life’s answers and learning how to achieve abundance. From early involvement with Christianity, he’s moved to an understanding of the Law Of Attraction with all that that implies. As modern physics merges more into the world of the “supernatural”, he sees the potential reconciliation of the spiritual with the scientific. He shares his insights, and processes and resources that work. http://www.money-health-relationships.com/

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