I spent this morning supervising the crating of the first of my Dangerous Career Babes – The Aviatrix – to be shipped overseas. It's not an easy job. Enamel's glossy, brittle surface is vulnerable to chipping and scratching and I've learnt to wrap corners and edges well to reduce the risk of damage. Even so, the safe delivery of my works is always nerve-wracking.The Aviatrix is to be included in an auction of contemporary Australian art organised by Christie's , in London, in December. Last year, two of my early enamels, each 1.0m x 1.5m, were snapped up for just over $A23,000 each. This new work is 2.0m x 1.6m and should sell for considerably more, even in a more cautious and conservatively valued market. However, recent art auctions in London have cleared less than 60 percent of the catalogued lots and even marquee artists such as Lucien Freud aren't achieving the prices they might have a year ago.In Australia, mainstream commercial galleries are hurting. There are rumours that some have not sold a single work since early this year. I'm not so sure that this is only because of the global economic slow-down. 'Bricks and mortar' galleries have been slow to pick up on radical shifts in the way collectors are staying in touch with both new and established artists and their work online. Their managers remain elitist in outlook, relying on long-established collector bases and traditional, infrequent, and un-individualised communication using old media to support sales. They've been unimaginative in laying the groundwork to encourage (and, in some cases, create) new collectors – in other words, investing in potential future revenue.If, as is widely thought, a global recession is inevitable, it's likely the only galleries and artists who will weather it well are those who are already bold, inventive and flexible – who have become, as one high profile, Nineties' web entrepreneur once put it, chaos compliant.