Last week, we were frustrated and saddened to find that our brand new chickens have been knocked off. It is not the first time that this has happened, but it has the first time that this has happened so quickly after releasing a new product. Perhaps its a compliment but its also deflating and de-motivating – why should we invest in product development if some of our customers think nothing of swiping our designs. How is this different from knock off labels, or pirated DVD’s or other counterfeit merchandise that focused campaigns in the media remind us are illegal?
I mention customers, because while we know a certain amount of responsibility rests on the wire art community, these dodgy transactions would not be possible if it weren’t for distributers looking for a cheaper deal. True we are more expensive than the average road side artist, but our overheads are obviously much higher. These overheads include electronic communication, marketing, salaries, VAT, PAYE ( yes we pay taxes), and a crew of dedicated team leaders, dispatch personnel and quality controllers – these to make sure that we deliver quality product on time, everytime!
Streetwires also employs a team of extremely talented sample artists and beaders, specifically to design and create new products. The primary reason for this is to meet customers needs and increase our sales in order for our studio artists to earn a decent wage. Anyone familiar with Streetwires will know that we have, and have always had, a duel mission. To create beautiful wire art while creating sustainable employment for our artists, some of whom have been with us from the start.
Sadder still, is that those who encourage artists to copy us by supporting them negate the legitimacy that we and other formalised wire crafters have fought so hard to attain for the medium. No longer consigned to the dusty pavements of Southern Africa, wire art now graces the halls of government, corporate head quarters and high end hotels. We are very proud of that, and proud of the esteem that this acceptance affords both our artists and other wire artists.
There are those who feel that buying directly from informal artists is a more direct form of enrichment, and its a valid argument but only if buying an original design. On the other hand, the life of an informal artist is a hard one. Its not that cool to have to stand at the side of the road hoping for a sale, especially if the weather is extreme, and very often those artists, due to hard economic reality, are forced to sell pieces way below what they are worth in order to feed their families. Enrichment? Or exploitation.
