What Years of Exhibiting Have Taught Me
Lessons in resilience, rejection and keeping going…
After many years of exhibiting my work, I've come to realise that while every exhibition is different, the experience of applying is often remarkably familiar. Like many artists, I keep a record of every exhibition I've entered. Some applications have been successful, others haven't, but I've learned that it's worth recording where I've applied, what I submitted and the outcome. Looking back over those records sometimes reveals patterns that help when deciding what to enter in the future. Occasionally those patterns seem straightforward. An exhibition may accept my sculptures for several years in a row, so I naturally assume I've found the type of work they are looking for. Then, the following year, exactly the same exhibition rejects my submission.
It's difficult not to ask why:
Were my photographs not good enough?
Did the work no longer fit the exhibition?
Had the judging panel changed?
Or were there simply stronger entries that year?
Unfortunately, most exhibitions don't provide feedback, leaving artists to speculate about the reasons behind a rejection. It can feel like a guessing game, and that's something every artist has to learn to live with.
Working across two disciplines, painting and sculpture, adds another layer of uncertainty. If an exhibition has consistently accepted my sculptures, should I continue submitting sculptures, or is it time to show them my paintings instead? I've tried both approaches over the years. Sometimes neither has been successful. It reminds me that selection isn't always a judgement on the quality of the work. Every exhibition has a different panel of judges, different priorities and different tastes. What appealed one year may not be what they're looking for the next.
I've also discovered that every exhibition asks for something slightly different. Some only want recently completed work, while others are interested solely in how well your work fits the theme. Some request detailed artist statements and descriptions for every piece, while others ask only for a short biography. Despite these differences, most application requirements are surprisingly similar. Being organised makes the whole process so much easier and removes unnecessary stress when deadlines approach.
I always keep the following information ready:
An up-to-date artist biography written in the third person.
High-quality photographs of my work, including detail shots where appropriate.
Accurate titles, dimensions, prices and the year each piece was completed.
Weight and installation details for sculptures.
A concise artist statement and, where required, descriptions of individual works.
My website, social media links and current contact details.
Having this information prepared means I can focus on selecting the right work rather than rushing to gather everything at the last minute.
The Final Lesson
If there's one thing I've learned after years of applying for exhibitions, it's this: you can do everything right and still be rejected. You can produce your best work, take excellent photographs, write a clear statement and carefully follow every instruction. Yet the outcome is still influenced by factors you can never control - the judges, the competition, the exhibition's direction, or simply changing tastes.
That doesn't mean your work isn't good enough.
As artists, our job is to create the strongest work we can, present it professionally and keep putting ourselves forward. Every application is an opportunity, not a guarantee. Some years you'll be successful, other years you'll wonder why. That's simply the reality of exhibiting.
So my advice is simple: stay organised, keep improving your presentation, don't take rejection personally, and never stop applying. The next exhibition could be the one that opens a new door.
After all these years, that may be the most valuable lesson exhibiting has taught me.