This week, John Keats of Menzies Art Brands let me know that three more enamel paintings of mine – a large work from my now hard-to-find Lake Eyre On Acid series and two smaller Sports Babes, Resized For Easy Consumption – have been submitted for Menzies' major auction of Australian art scheduled for 25th March, in Sydney.I don't know whether to be pleased or to puke with anxiety. In the midst of the worst financial crisis since the Great Depression of the 1930s even the rich are shedding assets – starting with their art collections – and the news from major auction houses around the world, including Sotheby's and the venerable Christie's in London, where my work sold very well in December, has been less than encouraging. Only a tiny percentage of contemporary works by young (well, thirty-something) artists are finding buyers while well-known works by older 'stars', including Hirst, Emin, and Banksy, have been passed in without any bids. I'm aware that many collectors and auctioneers regard my paintings as being sensibly priced. They rose steadily in value (around 1,000 per cent on what was paid for early works a decade ago) but didn't sky-rocket during the hyper-inflationary final years of the so-called 'art bubble'. Moreover, I was careful not to allow dealers or collectors to 'ramp' auction prices. Now my work represents, as one art consultant put it, "a combination of artistic credibility and solid potential for investment growth". This doesn't ease my nerves. I feel the same way I did when I hung my first-ever show – edgy, unsure, wondering, "What if they don't like it?"