The Intimate Exchange
NOIR, an exhibition of 150 artists, who donated work to the auction of Cirque du Noir, 2018.
“Buying art and handmade goods from the makers may be one of the last intimate exchanges in this world that purely provide a measurable transaction of emotional impact and recognition.” —Michelle May
Art itself is truly unique to the artist, each piece is unique, one-of-a-kind— and there can only be one buyer. A magical human exchange happens with the purchase of art on so many levels. Collecting from living artists, no matter how— in galleries, art fairs or online, fosters a profound sense of connection that extends far beyond the individual transaction. This exchange acknowledges the creator’s story, talent, and effort, infusing value into their craft and creating a shared sense of purpose and appreciation. On a community level, it strengthens local economies by investing directly in artists and makers, building connections, cultural enrichment and unity across divides. For artists, the big reveals, the art openings, reactions to sneak peeks, all of this intimate transacting through your craft is powerful stuff. Fine artist have the opportunity to experience this intimate exchange.
To begin, let’s give some familiar examples of ways communities benefit from casual exchanges made through art as a catalyst for connecting people. You can contextualize a bit more if you have ever had one of these experiences. If you have not, we encourage you to get out there this weekend and try meeting some artists. Artwork as a product itself is also unique because it is a prized luxury good, much like jewelry that stays with the buyers over time, through household moves and they may eventually be inherited. So we have societal impact, community enrichment on grand scales.
Gallery Openings: Nearly every community celebrates the opening of art exhibitions with a reception. Often, there are scheduled artist talks and other events that are offered. A great way to build your network face-to-face is to attend in these free events. Get your butt up off the couch, out of your office or that comfy reading chair and show up at these events. If you aren’t lucky to have a strong arts community where you live, a modern solution is submission to virtual exhibitions. Your digital footprint is the key here, you want as many eyes on your work as possible, outside of your city and state as well. Virtual shows are key for moving outside your boundaries, especially at a low cost.
Farmers' Markets and Craft Fairs: Events like community farmers markets, holiday markets or annual art fairs bring artisans, makers, and buyers together in direct exchange. Buyers interact with creators, hear the stories behind their products, and gain a deeper appreciation for the time and effort involved, creating lasting emotional and community connections. Even if you believe you art is above the price range of community art fairs, submit to one a year because it is a great way to test new ideas, listen to feedback and see what flies. It is also a great way to make some small affordable work that many of your admirers may not be able to afford, now or ever. Pro tip, small pieces that range between $65 and $400 do really well at these events. Make sure you have digital payment options and business cards and postcards for people to take. Encourage email signups as well, with a notebook or laptop.
Art Walks and Studio Tours: Events across the country like the Venice Art Walk in California, SoWa Open Studios in Boston or Thrive Arts District in Fort Lauderdale allow curious new admirers, browser and buyers meet artists in their creative spaces. These exchanges not only support local artists but also build vibrant, interconnected art communities that thrive on shared appreciation and collaboration, deepening the connection between the viewers and the artists. Every person that crosses your path benefits you in some way. Maybe not today or tomorrow, but meeting people and connecting is valuable. You never know who will walk through your door and what that may mean further on down the line. Open yourself up to possibilities.
The personal interaction between buyer, maker and the dealers cultivate trust and mutual respect, building networks of support that inspire others to engage with and value creative work. Brought together by galleries, it is luck that allows the buyer and the artist to be a part of the exchange.
2025 Challenge for All Artists and Art Advocates: Invest in building a bigger and more vibrant art community in your world — and bring 5 friends who are not actively into the arts—-into the fold. Convert them, show them the way. Invite them to the next open studio, personally, with a phone call or an email.
Intimate experiences like being in an art studio can be very powerful, even inspiring others to make art. It is a playground of color, materials and imagination.
Aesthetic Cognitivism
On a societal level, these exchanges heighten and also deepen cultural understanding, as each purchase reflects a commitment to preserving unique perspectives of the artists and that art will live on in their environment to see daily. Over time, these connections enrich community identity, foster collective pride, and drive a more human-centered economy that prioritizes meaning, authenticity, and emotional resonance. This is why smart cities, like Fort Lauderdale, Barcelona and Berlin include a lot of art-centric programming that engage the community.
Being curious, I needed to know more and found out that aesthetic cognitivism, which has been around since at least the 18th century during the Enlightenment and going as far back as Plato and Aristotle bickering over the merits of tragedy to provide understanding of the human condition. It is a philosophical methodology that claims that art is a way to learn, understand, and communicate truth. Based on the idea that art can impart knowledge, similar to reading a book or learning from a teacher. It is an interdisciplinary field that combines humanistic and scientific research, including cognitive psychology and neuroscience. It's based on the idea that art has cognitive value and that the arts are a significant way of understanding the world.
Art has cognitive value and the arts are a significant way of understanding the world.
Let’s talk about the macro example of a real life intimate exchange between people in a gallery. Recently, we were present when sparks flew and instantly we identified the magic of this intimate exchange and realized we have read very little about such an exchange, in scientific terms.
At a local opening, we were so moved by a chance event. I was standing next to an award-winning piece by a friend Brad Chapman Bleau when the Assistant Director of Arts Worcester approached with a woman, arm stretched with the red dot, honing in on the corner of the podium next to me. Brad’s piece, “The Gang’s All Here” sold. It was a “smalls works” exhibition with a maximum size of under 12 x 12 inches. To give further context of this remarkable moment, the art was whimsical and carefully executed. A vintage rolodex with hand drawn characters for each letter of the alphabet. Its footings were feet, assembled to create an emotional response from first view. When the metal device popped open, each viewer interacted with delight. Brad’s artwork was going home with this collector, who wore a smile from ear to ear. A former librarian, she was in love with the humor and creativity Brad bestowed upon a “historical artifact” she knew too well. There enlies the magic.
Nostalgia is powerful. Everyone over 40 probably remembers using these, especially at their grandparents’ home, as they vigorously held on to analog ways. There we were, all three of us, and we quickly realized Brad was in the room. What made this event even more special was the price. It was significant. The price fit correctly, for sure, but it was one of the highest in the room selling to a very enthusiastic buyer. To see it all go down was thrilling and to feel the energy and emotions flying was a wonderful experience. I was having an emotional experience and I was not the artist, buyer or the gallerist!
It struck me right there, that all of us should explore that feeling, that intimate exchange and hang out in that space for a bit. “The theory of aesthetic cognitivism argues that the value of art is not only in its power to touch us emotionally — through delight, amusement, or disgust — but also in its role in facilitating a better understanding of ourselves, the human condition, and moral and spiritual concepts writ large. In other words, as we reflect on art, we might in fact learn more about ourselves or the world.” — Zorana Ivcevic Pringle Ph.D., Psychology Today.
Aesthetic cognitivism argues that art can also convey knowledge in a measurable way. We did not find empirical studies that have tested the validity of this claim. We searched.
JR: We asked Brad Chapman Bleu about his emotional response that occurs in the process of entering art for juried exhibitions to learn more. We are fascinated by this concept and realize that we should really consider a more scientific approach to interviewing artists about their experience. Stay tuned for that!
BCB: Entering art into a juried exhibition often feels like gambling with your emotions a bit. Especially when you create work for a specific show - like the first pop-up address book I showed in ArtsWorcester's Page Turner exhibition (called Alphabet Book of Onomatopoeia).
It is a difficult act - to create art, suffusing so much meaning and personal exploration into a piece, not knowing if it is going to get in or not. If you make a piece with the intention of it being in a particular show and it doesn't get in, should it even exist? Does it hold the same meaning or significance when the context changes?
JR: Can you describe the feelings you have when you sell a piece of art and the buyer is present vs. offsite?
BCB: I always prefer and am excited when the buyer is present. This means I get to pick their brain about the why behind their acquisition. In every show that I have ever sold a piece in, I am astounded by the amount of artists who are much more talented than myself. My work selling means that it is not always a matter of talent or technical proficiency. Sometimes it is the intangible - the undeniable draw to a particular artwork. People have memories and emotional connections associated with objects from the past. The nature of my work draws people in because of this.
In asking people about the actual emotional feelings and their descriptions, I am not sure we ever arrived at the intended place, but indeed interesting opportunities happen when all parties are present.
I contacted Alice Dillon the next day to get her perspective as a catalyst in the transaction, and considering that she is an artist and collector herself, she understands all perspectives. Alice, hands out a lot of red dots for ArtsWorcester.
The energy and positive emotions fly when a collector makes a purchase.
Alice Dillon, the Assistant Director of Arts Worcester took the time to engage with us about this exchange.
JR: In your experience putting many red dots on the wall, how can you describe the emotional exchange between the buyer and yourself, the gallerist, as well as the buyer and the artist. You are the middle person, you become the catalyst for this chemical reaction…please give your insight to this unique role.
AD: I think it’s important to set up context at ArtsWorcester here: since ArtsWorcester is a nonprofit organization, we are different from for-profit galleries that focus and depend on sales. While sales are of course important to artists and therefore important to us, and our commissions do make up a portion of our annual budget, we do not require that all artwork under our roof is listed for sale. Artists decide for themselves whether or not to list work for sale, and at what price. When an artwork sells, it is a cherry on top of the experience of purely exhibiting the work.
So the steps to a sale: The collector is standing in front of the piece (or sometimes looking at an image on our website, emails, or social media, admiring. That turns into logistical thinking- do I have room for this, does it fit within my budget, etc. Then a realization that if they walk away, they’re going to keep thinking about that piece and wishing they had it. That process might happen over the course of the entire exhibition run, or in 60 seconds at the opening reception. It's those immediate sales that are most visible to our community, and that really infuse the room with energy.
I’m an artist, an art administrator, and an art buyer, so I’ve been involved in all sides of this. As the collector, you go through this experience of realizing, I can’t walk away from this artwork, and yes, maybe I do have room for it on my wall, and yes! It’s in line with my budget!
Small Works opening reception at ArtsWorcester with Brad’s piece in the lower left corner. photo @nathanfiskphotopraphy
As the artist, when you see that red dot on your label, it’s an incredible sense of validation. Somebody loved what you spent your time and resources on, enough to spend their time and resources on it, and now they’re going to look at it every day. There’s sometimes a little bit of sadness, because a lot of artists put so much of themselves into their work and it can be hard to say goodbye, but that usually only lasts a moment.
As the art administrator, the one processing the sale, you are in between those two parties. If the collector does not know the artist, but I do, I try to offer some “insider info.” I’ll tell them if this artwork is part of a series, or a complete departure from the artist’s usual style, if they’re a student, etc., always ending with “they’ll be so excited.” I also always offer the red dot to the collector, and see if they would like to put it on the label. It’s a fun little touch.
Between the three parties involved, there’s a general feeling of support. I appreciate that the collector is supporting the community of artists and ArtsWorcester as an organization. The collector feels good about supporting a local artist. The artist feels the support of the organization, and the support from the purchaser.
Speaking specifically to the sale of Brad Chapman Bleau’s piece in our Small Works show- that was a fun one. Brad’s piece has one of the higher prices in the show so after a night of selling mostly $100-$250 works, I was surprised to be led over to his piece by the purchaser. To be clear, the piece is absolutely deserving of its price tag, it was just an unexpected delight to add that extra zero on my little device. Brad is such a talented artist, hard worker, and overall good person. I knew that he and his wife Veda (also a talented artist, hard worker, and overall good person) were both tired from work, but that my partner, who works with them, had encouraged them to come to the reception because Brad was going to be receiving a juror’s prize. After processing the sale, I offered to introduce the buyer to the artist. We wove through the crowd over to him, and I just said “I’ve got someone to introduce to you, she just bought your piece.” Brad and Veda’s jaws both dropped and I walked away as the three of them talked- my work was done!
Image via ArtsWorcester @nathanfiskephotography
While we were asking specifically about an emotional response, Alice considered all parties in response to sales— including that of the public, to understand the role ArtsWorcester plays as a non-profit gallery. We were looking for more of the personal gut reaction, the essence of that pinnacle moment. Although the answer did not get to the crux of what we were after, a defined emotional reaction, Alice gave a well-rounded, three-pronged explanation that focused on all different perspectives, which are all so valuable.
JR: No matter how advanced you are in your career as an artist, every time you show work you know there will be reactions from the viewers. Most artists feel nervous and excited when the doors open and the crowd fills the room. You are always in close proximity to the “reaction zones” when viewers are commenting on work and the artist may be close by, so you introduce them. Can you talk about the spark of recognition for the viewer and the artist when this happens?
AD: I love introducing collectors or even just admirers to artists. As long as I can recognize the artist, and I know that they’re in the room, my part in that is very easy. I bring them over, and I’ll linger if I know the artist might be particularly nervous or if this is their first art sale. But from there, it’s really just a conversation to be had between the two of them.
“It can be intimidating for both sides. It can sometimes be hard to put into words why you like an artwork, and even harder while the artist is in front of you. So many artists deal with imposter syndrome, or find it hard to accept compliments about their work. But this moment is about connection, about two people really seeing each other as a result of the artwork.” —Alice Dillon
AD: My favorite introduction of the night of the Small Works reception involved artist Lawrence DeJong. Someone purchased his sculpture, and reminded me that this was the third piece of his that she had purchased from us. She also said she had never met him. I was shocked! I told her that I would keep an eye out for him. Just a few minutes later, I was checking in with our gallery assistant Carson at the front desk, and Lawrence walked in. I said “Hello! I just sold your piece!” He asked who bought it, I told him, and he immediately recognized the name and said the same thing, that they had never met. I was able to bring the two of them together after years of this distant, collecting relationship.
JR: A bonus exchange happens when collectors are able to meet the artists who make the work. You have the gallerist who often manages the exchange and also takes part in the transference of energy. What an amazing component to this job of selling art.
Artist Brad Chapman Bleu also shared his experience with us.
JR: As an artist, can you describe the feeling you get when someone loves your art, whether they can buy it or not?
BCB: It's an honor whenever someone really connects or responds to my work. The obvious is true, it is validating to know that you can create something, out of almost nothing, that resonates in a positive way with people. When someone loves your work - it feels like they accept the weird part of you that was driven to make the work in the first place. It's an intimate exchange between the artist trying to portray an abstract idea - and the buyer - who somehow understands the visual language used to express that idea. It doesn't always make sense. I've been selling my work for about 16 years now, and I can tell you, there is no typical demographic of people who buy my work. It's all open to individual interpretation, connecting a diverse group of weirdos that resonate with my weird paintings.
What I'm REALLY interested in however, is when people specifically do NOT like my work. Again, it's about the why? What about it makes you uncomfortable? To me, a successful work of art evokes an emotional response - whether it be positive or negative does not really matter to me. Children are often the best at this - with no filter, they will tell you EXACTLY why they hate your work.
JR: Validation, acceptance of something so deeply personal, an intimate exchange, understanding each other—all emotional exchanges between strangers through art.
Community enjoying a light festival.
The purchase of art creates a purely emotional and physiological exchange between the collector, gallerist, and artist— rooted in the truest human connection in the appreciation of sheer creativity.
For the Collector: Acquiring a piece of art triggers feelings of excitement, joy, and a feeling of resonation. The act of choosing a piece that you completely vibe often releases dopamine, buying art is like a drug— associated with pleasure and reward. Have you heard of shopper’s high? Shopping therapy? The art becomes this tangible extension of the collector’s identity, values, or aesthetic, creating an amazing sense of accomplishment and deep personal connection.
For the Artist: When their work is purchased, artists experience validation and recognition as well as other neurological releases firing on all cylinders, affirming their creative vision and efforts. If you have sold work, you can attest to this firework show. A surge of oxytocin, the "bonding hormone," is at the heart of the sale representing an intimate exchange of the artist’s story and emotional responses with the buyer, like Brad referred to an extension of their own inner weirdo. You can see it on their faces when they decide to commit. As an artist and catalyst, that is a very enjoyable place.
For the Gallerist: Acting as a bridge between the artist and collector, the gallerist experiences satisfaction and pride in facilitating this meaningful connection. The curators should not be discounted, often they are the ones that are the driving forces for selecting art for the exhibitions. Each has a role as a storyteller and advocate for the artist strengthening their emotional investment in the process. This exchange really heightens our sense of purpose.
Scientific studies confirm that viewing art can stimulate the release of dopamine, a neurotransmitter associated with pleasure and reward, leading to feelings of calmness and well-being. We are no experts here, but we are fascinated by this research, so we indulge quite a bit. From personal experience, we know this response is particularly notable when we engage with art that resonates with us personally, as the aesthetic experience activates our brain's reward system. [Cue pin ball audio.] Now imagine being the artist with people gazing upon your work, reacting positively to it and taking out their wallet to bring it home. Everyone in the transaction benefits from these good vibes.
Research published in Frontiers in Human Neuroscience highlights that art appreciation can reduce cortisol levels, the stress hormone, while promoting emotional balance. Similarly, the "neuroaesthetics" field studies how visual art activates brain regions linked to reward and decision-making, fostering mood elevation and stress alleviation. Engaging with art—whether by creating, viewing, or discussing it—thus offers a natural and accessible way to improve mental health and overall emotional well-being. There are a lot of studies about viewing art, but we could not find specific topics about this triad of subject. There is a senior thesis waiting to happen! Purchasing the art and taking it home after interacting with the human that created it, is just next level.
From everything we know, we suspect this physiological interplay of dopamine and oxytocin creates an explosion of mutual appreciation and connection. We have personally felt that it transforms the transaction from a simple exchange of goods into a memorable, impactful moment of shared human experience. Making art is an intimate and very personal experience for artists, the calm moments, being in the zone—putting their marks on a surface that will be shared. There is vulnerability and fear as well as excitement and elation. With a placement of the mighty red dot, the sizzling wick is lit.
If you need a vibe fix, become an art collector.
The Gang’s All Here, Brad Chapman Bleau
In his piece ‘The Gang’s All Here,’ Brad Chapman Bleau repurposes a vintage address book to display acrylic and graphite portraits, impressing Small Works Juror Simon Morsink and gaining the artist a Juror’s Prize at this exhibition..
Morsink said the Chapman Bleau's originality and outside-the-box thinking resulted in an interesting combination of mediums (the baby doll feet reminding Morsink of old furniture with lion paw feet, but with a modern twist).
Brad Chapman Bleau
By juxtaposing tangible, vintage objects with surreal painting motifs, my assemblage paintings blur the line between reality and the imagined. The dimensionality and trompe l’oeil effect create a push-and-pull of the viewer’s senses, engaging curiosity, forcing them to question their own perception.
My goal in using the associations that we have with these found objects is to tap into a collective consciousness within visual culture, and to allow the viewer to interpret narratives within the context of their own experiences. Maybe some of the relics used within my work can penetrate linguistic barriers, and can lead to a deeper understanding of one another, as well as our shared experiences and visual culture icons.
Brad Chapman Bleau’s work is situated in visual and material culture, exploring themes of surrealism, memento mori, and tattoo iconography. He is a painter and sculptor who constructs knowledge by engaging in deep, meaningful dialogue with process and material. Growing up in the outskirts of Worcester, Brad Chapman Bleau moved to Boston in 2010, receiving his BFA in Illustration from Massachusetts College of Art and Design. He then moved back to Worcester in 2017, and began his graduate studies in a low residency program at Goddard College in Plainfield, Vermont. He received his MFA in Interdisciplinary Art in 2022, and began as an adjunct professor of art at Worcester State University, as well as Assistant Director of the Mary Cosgrove Dolphin Art Gallery. His work has been shown in numerous galleries and museums across Massachusetts, and has won several awards including the Sara Parker painting prize during Fitchburg Art Museum’s 85th Annual Regional Exhibition of Art & Craft, and ArtsWorcester’s Material Needs Grant in 2022.
Brad is also Adjunct Professor / Gallery Curator of the Cosgrove Gallery at Worcester State University
Learn more about Brad:
Further research if you are interested. Your Brain on Art | Psychology Today
