If there's one drawback to handling my own sales and marketing, it's the hours each week I have to put aside to promote and sell my own work. I blog and tweet with a regularity that puts some professionals to shame. I ensure that my web site, which is intended to be more an exhaustive reference resource about my work and career rather than a sales tool, is kept updated. There is a monthly e-newsletter – Studio Notes – to write and email to over 7,000 subscribers each month, as well as a monthly media release to another two or three hundred individuals.But the core of my non-art activities are dozens of phone calls, emails and meetings with existing and potential collectors. I don't often welcome visitors to my studios – these are reserved for my most ardent collectors, for whom I host occasional lunches in my cliff-top garden, a couple of hundred feet above a Pacific Ocean the color of lapis lazuli. I prefer email and the phone to personal contact. Nevertheless, I ensure not only that I'm always accessible to collectors and fans but also enthusiastically communicative about new series that are available for commission, works in progress, and works that are for sale directly from other collectors. I also have a small network of non-gallery art dealers, corporate curators and recently auction houses (acting as brokers) through which I channel a small volume of selected works.Incidentally, if you are one of those who believe that big-money collectors need to see a work in real life before spending five or six figures on it, think again. Major auction houses routinely receive bids for works priced upwards of a million dollars from buyers who have never set foot in their show rooms. My own experience is that if an artist's brand is well regarded, a buyer won't hesitate to spend tens of thousands of dollars without having seen anything but a digital image of the work.Apart from sales, there are self-produced shows as well as those produced in partnership with smart gallery owners who don't insist on the conventional terms of trade with an artist. I have, so far, six of these planned in the next eighteen months and apart from actually producing the work, I'll have to spend days dealing with the logistics of framing, packing and shipping work, travel bookings, collating and distributing press materials, and supervising the design of posters, postcard, t-shirts, magazine advertising and invitations. I have a very clear vision of my image and message for every show and I am loathe to leave to anyone else to ensure its communicated properly.Last but not least, like any business, I have accounts to balance, staff to take care of and taxes to pay. I do as much of the paperwork as I can before handing it off to a very smart accountant (and collector) to assemble into statements or returns. When I first hired her, my income was less than $A300 a week after tax: now I spend that on coffee and snacks for my crew.As I keep saying, independence has its price. Or, rather, its ransom.