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"untiled" © mica d'orléans 2008
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through the billions of dollars placed in marketing, big
corporations have become experts on behavioral strategy.
results from their research offers their advertisers an exclusive
on how the human mind operates. perceptive to people’s ways
of validating an act, these companies exploit their knowledge by
cleverly gold-plating insignificant objects for the public to
willingly consume.
well aware of this tactic, and being privy to the same marketing
information, establishments who promote the arts are prone to
turn the artist into a saleable commodity that can easily be
defined by the work they produce. though this may be
financially beneficial to the marketer and collector, it can
constrain the creative process of the artist and give off a
monotonous appearance to their work.
for the artists who do want the type of recognition that will
permit them to live off their art, yet not be linearly associated
with any one particular style, a compromise between their
integrity vs. the decision makers’ picture of which art is
“digestible” or “marketable” to collectors must be attained.
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THE PINK ENVELOPE PROJECT is a personal study on
how packaging affects pricing and the artist. when presented
effectively, something unappealing can suddenly become very
desirable, or if put in the wrong hand, the reverse is achieved.
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having this theory in mind, the pink envelope came to be. what
i found was that instead of allowing my creativity to be stumped
by the homogeneous notion of “signature”, purposely keeping
this task in mind for the past couple of months inspired me to
find ways to join unlikely themes together. for this project it is
the use of one thematic color and a descriptive title.
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