Editor's Preface

This paper was sought from the perspective of a senior art industry analyst. While the content and findings are independent, we do not claim complete detachment from the outcomes. Likewise, we do not agree with the basic assumptions and find the analysis somewhat misguided. That said, we want to clarify a number of key points.

We launched the website during late 2025. The process of business design and site development was intensive, lasting twelve months, requiring a lot of industry research and technical patience. The existing collection, like most curated bodies of work, is transitional. This window into the artistic production reflects the times we live within.

The Legacy Series was first conceived as a way to honour pre-existing private collections of our major works. These paintings were part of international university gallery exhibition in Canada. They dated back approximately two decades. 

The Continuity Series was curated as outflowing from legacy contexts and cultural values. This body of work was first conceived to express our contemporary production.

However, as time passes the value of 'legacy' is embracing more than past works and has already articulated aesthetic values of profound provenance and resonance. This curatorial process has led to a more comprehensive and consistent valuation model, evaluated in the discussion below.

As we have engaged with external analysis of our collection in comparison to the wider market, we notice that the Legacy Series has dominated discussion. This is useful but likely misrepresents our artistic process. The core Legacy Series carries forward a past body of work that requires careful curatorial and custodial consideration.

We seek to house and home the core Legacy works in the hands of soulful collectors and/or bodies who will carry the works to future generations. We have been and will continue to seek periodic external research assistance to unlock insights, get critical feedback, and move things forward. The shifts and directions that these cycles promote reflect scholarly and professional intentions.

 

1. Executive Market Context and Strategic Overview

The Australian art market is currently navigating a period of profound structural recalibration. Following the global disruptions of the early 2020s, the sector has witnessed a decoupling of traditional geographic power centres—primarily the "Golden Triangle" of Sydney, Melbourne, and Brisbane—in favour of a more distributed, digital-first regionalism.

Within this evolving landscape, the emergence of Oz FineArt represents a distinct and highly specialised case study of the "Artist-Run Platform" (ARP) model. Unlike the traditional Artist-Run Initiative (ARI), which often operates as a physical collective or project space with a focus on experimental or non-commercial outcomes, the Oz FineArt model, as detailed in its "Collector Prospectus 2025," is explicitly architected as a commercial entity that merges high-level curatorial rigour with a direct-to-collector sales strategy.

This report provides an exhaustive analysis of the Oz FineArt ecosystem, comprising the works of its principal artists, Dr Dwayne Wannamarra Wyndier Andrew Kennedy and Dr Jorandi Kisiku Sa'qawei Paq'tism Joseph Randolph Bowers. The analysis places the platform within the broader context of the Australian art market, specifically benchmarking it against artists of a similar "scholar-practitioner" class, as well as comparative regional galleries across New South Wales (NSW), Queensland (QLD), and Victoria (VIC).

The central thesis of this report is that Oz FineArt is attempting to establish a new market category: "Legacy-Oriented Therapeutic Art." This category leverages the dual authority of the artists—as culturally initiated Indigenous and Celtic knowledge holders, and as credentialed academic psychotherapists—to justify a valuation model that transcends simple decorative utility. By embedding "Neuroaesthetics" and "Sacred Commerce" into their core value proposition, the platform seeks to insulate its pricing from the volatility of the decorative market, positioning its inventory instead as "cultural artefacts with a future".

1.1 The Shift to "Sacred Commerce" and Direct Representation

The prospectus articulates a foundational philosophy of "Sacred Commerce," a concept that reframes the transactional nature of art acquisition. The document explicitly references "older traditions of fair trade" and the "Elder's Sacred Council," positioning the sale of art not merely as the transfer of goods, but as a relational exchange of "medicine" and "dreaming".

This rhetorical positioning is significant in the current market climate. Analysis of collector behaviour in the post-2023 period indicates a rising fatigue with the opacity and transactional coldness of the secondary auction market. By offering a direct line to the "sacred place of origin, inspiration, and the earliest history" of the work, Oz FineArt taps into a desire for authenticity and connection that is often diluted in the traditional gallery system.

This approach creates a "closed-loop" provenance system. Traditional galleries often struggle to maintain the "narrative chain" of an artwork as it passes from studio to dealer to buyer. Oz FineArt, by controlling the entire vertical—from creation in their solar-powered regional studio to the issuance of the "Custodianship Folder"—guarantees the integrity of the narrative.

This is a competitive advantage in an Indigenous art market that remains plagued by issues of authenticity and provenance gaps. The platform’s commitment to "Ethical, Cultural, and Narrative Foundations" serves as a risk-mitigation strategy for collectors, effectively de-risking the acquisition of regional art by wrapping it in institutional-grade documentation.

2. Institutional Analysis of the Oz FineArt Platform

To understand the market potential of the collection, one must first deconstruct the institutional architecture of the platform itself. Oz FineArt is not merely a sales portal; it is structured as a "community of practice" and a "cultural statement". This distinction is critical when comparing it to aggregators like Bluethumb or Art Lovers Australia, which function as open marketplaces.

2.1 The "Collector's Prospectus" as a Strategic Instrument

The choice to release a "Collector's Prospectus" rather than a simple catalogue is a deliberate signalling mechanism. In financial markets, a prospectus is a disclosure document that invites investment based on a detailed exposition of value and risk. By adopting this terminology, Oz FineArt signals to the "sophisticated" collector that they are acquiring an asset class, not just a decoration. The document’s structure—covering "Position," "Provenance," "Collector Care," and "Asset Classes" (Legacy vs. Continuity)—mimics the rigorous disclosure of a financial product, thereby elevating the perceived seriousness of the offering.

The prospectus serves to filter the audience. The explicit statement that they are "actively making room for the right collectors not trying to please everyone" suggests a strategy of exclusivity. This runs counter to the democratisation trends seen in many online galleries. Instead, it aligns Oz FineArt with the "Boutique Consultancy" model, where the relationship between the provider (artist) and the client (collector) is intimate, long-term, and high-value.

2.2 The Custodianship Folder and Provenance Engineering

A major differentiator for Oz FineArt is the "Custodianship Folder," a physical asset that accompanies the sale of original works. This folder includes a "Certificate of Authenticity," "Certificate of Custodial Provenance," and perhaps most uniquely, a "Certificate of Narrative Significance".

In the broader Australian market, provenance documentation for works under $5,000 is often minimal—typically a receipt and a brief artist bio. Oz FineArt’s decision to include "Long Form Description / Narrative Statement" and "Contextual Materials" (including citations and research publications) adds significant tangible value. It transforms the artwork from a visual object into an intellectual asset.

For the collector, the inclusion of the Folder of Provenance reduces the friction of future resale. A work that comes with a pre-packaged, citation-backed history is far easier to consign to a secondary market auction house than one without. This "provenance engineering" is a sophisticated move that mimics the behaviour of top-tier museums, effectively democratising institutional-grade cataloging for the private collector.

2.3 Regional Infrastructure and Operational Ethos

The operational base of Oz FineArt in Armidale, regional NSW, is leveraged as part of its brand story. The description of the studio—"located across the property with a central garden connecting the structures," with a "kiln shed not far afield" and a "solar powered kiln" —paints a picture of an integrated, organic practice. This "terroir" of the art—its creation in a specific, sustainable, regional context—appeals to the "Ethical Collector."

Comparison with urban galleries is pertinent here. A gallery in Paddington (Sydney) or Prahran (Melbourne) has high overheads that dictate high margins (typically 50%). Oz FineArt’s regional base allows for a lower cost structure, which theoretically enables the "Comprehensive+" pricing model to deliver better value to the collector while maintaining sustainable margins for the artist. The platform’s ability to "ship with international couriers (e.g. FedEx, DHL)" negates the tyranny of distance, allowing a regional NSW enterprise to function as a global exporter.

 

3. Artist Profile: Dr Dwayne Wannamarra Wyndier Andrew Kennedy

The market position of Dr Dwayne Kennedy is defined by the synthesis of Traditional Custodianship and Academic Inquiry. This combination places him in a specific "Scholar-Artist" class, distinct from both the "Remote Community Artist" (who may rely on art centre managers for mediation) and the "Urban Contemporary Artist" (who often focuses on political critique).

3.1 Heritage and Stylistic Lineage

Dr Kennedy’s work is anchored in his dual Wiradjuri and Kamilaroi heritage. The Wiradjuri, "people of the three rivers," and the Kamilaroi have rich artistic traditions involving dendroglyphs (carved trees) and linear designs. Kennedy’s style, however, is not a static reproduction of these forms. The prospectus notes his background in "graphic arts, fashion design, sign making and printing". This is evident in the precision and vibrancy of his works.

Style Analysis: His works are described as utilising "intricate designs that convey Dreamtime stories, animal totems, and sacred symbols". The graphic design background likely contributes to a high degree of compositional resolve and clean execution, which appeals to contemporary minimalist interiors.

Narrative Integration: Unlike artists who separate their academic and creative lives, Kennedy integrates them. His paintings serve as "central metaphors in his Masters Honours and PhD research publications". This provides a layer of "intellectual provenance" that is rare. A collector is not just buying a painting of a Dreamtime Serpent; they are buying a visual thesis on Indigenous cosmology and identity.

3.2 Key Works and Series Analysis

The segmentation of Kennedy’s work into Legacy and Continuity series allows for price discrimination based on narrative weight.

The Legacy Series: Works like Dreamtime Serpent (2002) and Eagle Dreaming represent the foundational period of his practice. The dating of these works (early 2000s) is significant; it demonstrates a "decades of creative and professional practice" countering the skepticism often directed at emerging artists. Christ Consciousness (2003) indicates a willingness to explore syncretic themes, blending Indigenous spirituality with other theological concepts, which expands his market to collectors of religious or mystical art.

The Continuity Series: Newer works like Bondi Beach (2025) and Billabong  demonstrate an evolution towards place-based landscape painting. Bondi Beach is particularly interesting as a subject for an Indigenous artist from regional NSW; it suggests an engagement with iconic Australian sites through a First Nations lens. The style of these newer works—described as "vibrant and alive" —likely employs a more contemporary palette suited to modern decor, bridging the gap between "Fine Art" and "High-End Decor."

3.3 Comparative Artist Benchmarking

To classify Dr Kennedy, we must look at other Indigenous artists who hold PhDs or significant academic posts and maintain a visual arts practice.

Similar Class: Artists like Dr Christian Thompson or Dr Foley (though stylistically different) represent this "Academic-Indigenous" tier. However, these artists are typically represented by major metropolitan galleries (e.g., Yavuz, Anna Schwartz). Dr Kennedy’s choice to remain independent and regional places him in a unique "Sovereign Operator" category.

Regional Comparison: Compared to regional Indigenous artists in NSW who sell through local cooperatives or tourism hubs, Kennedy’s work is priced on par and also positioned to match premium values ($1,800+ for medium works). His "Dr" title and research background are leveraged to justify this premium, moving the work out of the "souvenir" category and into the "investment" category.

4. Artist Profile: Dr Jorandi Kisiku Sa'qawei Paq'tism Joseph Randolph Bowers

Dr Bowers adds a complex transnational dimension to the Oz FineArt offering. His profile merges Canadian Mi'kmaq heritage with Celtic traditions and a Therapeutic professional identity. This "Two-Spirit" and "Cross-Cultural" positioning is highly specific and targets a niche of the market interested in global Indigenous dialogues and intersectional identity.

4.1 The "Trans-Indigenous" Value Proposition

The Australian market is well-versed in Aboriginal and Torres Strait Islander art. However, the introduction of Mi'kmaq (First Nations Canada) art is a distinct novelty. Dr Bowers honours a family heritage documented back to 1650.

Market Novelty: There are very few platforms in Australia offering high-quality Canadian First Nations art. This creates a unique selling point (USP) for Oz FineArt. It appeals to expatriate collectors (Canadian/American) and Australian collectors looking for diversity in their Indigenous holdings.

Stylistic Fusion: Bowers’ work spans "impressionist abstract landscapes," "geometric plate series," and "floral therapeutics". This eclecticism reflects a multidisciplinary background in music and philosophy. The Mi'kmaq Six Worlds (2007) and Sa'qawei Kisikuik - Ancient Elders (2008) are critical legacy pieces that anchor his authority. These works were exhibited at Cape Breton University Art Gallery in 2010, providing the "institutional stamp of approval" that is vital for serious collectors.

4.2 Therapeutic Resonance and "Neuroaesthetics"

Both practitioners participate in the "Therapeutic Resonance" narrative. Dr Bowers holds a Doctor of Divinity in Ceramic Arts focused on Clay Therapy and PhD in Health Counselling. Dr Kennedy holds a PhD in Counselling, with degrees in teaching and qualifications in graphic design. Both have worked most of their lives in the helping professions, with specialisations in disabilities and mental health. These contexts provide the credentials for the platform’s claims about art and wellness.

The "Floral Therapeutics" Series: This series by Dr Bowers s explicitly designed to "stop you in your tracks" and induce emotional release. In the context of the post-pandemic "wellness" boom, this is a shrewd commercial move. It positions the art as functional—a tool for "self-care" and "micro-restoration"—rather than just aesthetic.

Ceramics: The move into ceramics by Dr Bowers ("Sculpted Organics Vase Series") aligns with the global resurgence of craft and pottery. By producing these in a "solar powered kiln" in regional Australia, Bowers taps into the "Slow Art" movement. These items, likely at a lower price point, serve as an entry point for new buyers (the "Initiation Series").

5. Comparative Market Analysis: The "Similar Class" and Regional Context

We now explore a comparison to other Australian artists in a similar class and smaller regional artists and galleries in NSW, QLD, and VIC.

5.1 Defining the "Similar Class"

The "Similar Class" for Kennedy and Bowers comprises:

Independent Scholar-Artists: Mid-career artists with advanced degrees who operate outside the blue-chip franchise system.

Therapeutic/Wellness Artists: Artists who explicitly market their work through the lens of healing or spirituality.

Regional "Master" Artists: Senior artists living in regional hubs (e.g., Mullumbimby, Daylesford, Maleny) who have national profiles but local production bases.

Comparison Table: Oz FineArt vs. Competitor Classes

5.2 Benchmarking against Regional Galleries (NSW, QLD, VIC)

The prospectus notes benchmarking against a "New South Wales matrix". Let's expand this to QLD and VIC.

NSW (e.g., Southern Highlands, Northern Rivers): Regional galleries here often represent landscape artists and makers. Prices for a $50 \times 40$cm canvas typically range from $800 to $2,500.

Oz FineArt’s pricing of $600 to $1,800+ places them at the mid to upper end of the regional market. This premium is justified only by the "Legacy" and "Academic" factors. Without these, the price would be resistant in a pure "regional gallery" context.

VIC (e.g., Daylesford, Mornington Peninsula): The Victorian regional market is highly sophisticated, often blending contemporary art with tourism. Galleries like Flinders Lane (though metro, represents regional artists) or regional ARIs set a high bar for presentation.

Oz FineArt’s digital presentation ("Collector Prospectus") rivals the gloss of these Victorian contemporaries, allowing them to compete for the same "Melburnian weekender" dollar without the physical overheads of a gallery in Sorrento.

QLD (e.g., Noosa, Cairns): The Indigenous art market in QLD is robust, with centres like CIAF (Cairns Indigenous Art Fair) driving values. Oz FineArt competes directly with the independent Indigenous artists of QLD. However, QLD’s market is heavily focused on "Tropical" and "Saltwater" themes.

Kennedy’s "Inland" (Wiradjuri/Kamilaroi) and Bowers’ "International" themes offer a distinct alternative to the dominant QLD aesthetic.

5.3 Comparison with Smaller Regional Artists

Most "smaller regional artists" rely on: Local art prizes. Community markets. Consignment to gift shops/cafes. Platforms like Bluethumb.

Oz FineArt separates itself from this tier through Professionalisation. The "Prospectus," the "ISBN" registered publications, and the "PhD" titles create a barrier to entry that the average hobbyist or semi-pro regional artist cannot bridge. They are not selling "art by a local"; they are selling "art by a resident scholar."

6. Pricing Strategy and Financial Modelling

The "Comprehensive+" Model is a critical innovation in Oz FineArt’s strategy. It moves away from the "mystique" of gallery pricing towards a rational, defensible metric.

6.1 Deconstructing Formula 1

The formula cited is: Price = (Height + Width in cm) × Artist Factor.

Example: 50 cm + 40 cm x 20 = $1,800.

The "Artist Factor" (20): This is the variable multiplier. In the European "Contemporary Art Issue" model cited, a factor of 20 indicates an 'emerging established' artist. Oz FineArt propose that their scholar-artist career standing warrants a score of 30+ where 31, for example, would equate to $2800. The rank of 30+ implies a 'mid-career / established' status. The artists suggest that their intention is to meet the market on flexible terms and raise the factor based on market feedback. Emerging artists might have a factor of 10-15; blue-chip artists 50-100+.

Implication: By setting the factor at 20, Oz FineArt is astutely acknowledging the utility of the "emerging" phase of valuation that builds confidence and provides feedback to the artist and their development.

6.2 Factoring in Formula 2

The gallery has more recently developed additional objective criteria to assess the value of works. This method is based on Tiered Narrative Value and functionally relies on a Series Multiplier (M) derived from analysis of Provenance Scores and Resonance Scores.

Provenance Scores reflect documentation (exhibition, citation, and/or publication) and/or Cultural Merit. Resonance Scores reflect evidenced based professional therapeutic relevance. Points are given to a work that demonstrates specific criteria, and the scale is applied as a nominal multiplier (M).

Example: 50 cm + 40 cm x 20 = $1,800 (the base from Formula 1)

Formula 2: $1800 x M (P + R) = Valuation -or- example: $1800 x 1.3 = $2340 (rounded to the nearest whole figure per industry standards)

The "Plus" in Comprehensive+

The primary Formula 1 model explicitly accounts for "Costs, time, overheads, taxes, salaries... training, education".

Cost-Plus vs. Value-Based: Most art is priced on "Value" (what the market will bear). Oz FineArt integrates "Cost-Plus" logic (covering the cost of production and the artist's life). This appeals to collectors who value Ethical Consumption. They know their money is not just buying an image, but supporting a "living wage" and "sustainable practice."

Currency Arbitrage: The prospectus mentions considering the "track record of the Australian dollar". This suggests dynamic pricing capabilities. If the AUD weakens against the USD, their works become highly attractive to the American collectors they are targeting.

Professional Rigour: Perhaps the most unusual observation is that the valuation models proposed provide consistency and transparency which is exceptional in an industry where valuations are highly unpredictable and subjectively driven by 'supply and demand'.

6.3 The "Launch Tier" Strategy

The prospectus offers "favourable launch tier pricing". This is a classic "Early Adopter" incentive.

Mechanism: They are signalling that the current "Factor of 20" is a discount, and that future factors will be higher as the "Legacy" solidifies.

Psychology: This creates urgency ("FOMO"). It encourages collectors to buy now to lock in the "ground floor" investment. For the "Initiation Series," this is particularly effective, allowing new buyers to enter the ecosystem at a lower risk point before upgrading to "Legacy" works.

 

7. The Therapeutic Art Market and Neuroaesthetics

One of the most profound insights from the research material is the explicit commodification of "Therapeutic Resonance."

7.1 Neuroaesthetics as a Sales Tool

The prospectus leverages "neuroaesthetics research" suggesting that art "reliably recruits the medial orbitofrontal/ventromedial prefrontal cortex".

Scientific Validation: By using medical terminology, they validate the subjective experience of the buyer. A collector isn't just "liking" a painting; they are experiencing a "somatic registration" of beauty. This mitigates buyer's remorse ("Did I spend too much?") by reframing the purchase as a health intervention.

Corporate and Institutional Appeal: This narrative is perfectly tailored for the B2B market: medical centres, hospitals, and corporate offices. These buyers have budgets for "Environmental Design" and "Wellbeing." Oz FineArt’s explicit mention of wanting their work in "surgeries, schools, libraries, and hospitals" confirms this targeting.

7.2 The "Floral Therapeutics" Niche

Dr Bowers’ "Floral Therapeutics Series" focuses on "feminine insight" and "psychodynamic healing".

Genre Comparison: The floral genre is often dismissed as "decorative" or "Sunday painter" territory. Bowers elevates it by attaching "psychodynamic" theory. This allows sophisticated collectors to buy floral works without feeling they are compromising on intellectual depth. It reclaims the "decorative" as "restorative."

8. Regional Analysis: NSW, QLD, and VIC

Regarding smaller regional artists and galleries in these states.

8.1 New South Wales (NSW)

Market Dynamics: NSW is dominated by Sydney money flowing into regions like the Southern Highlands (Bowral) and Byron Bay.

Oz FineArt Position: Based in Armidale (New England region), they are outside the primary "lifestyle" belts. This makes their digital-first strategy essential. They cannot rely on the "passing trade" of a Bowral gallery. Their "Collector Prospectus" is their virtual shopfront. By focusing on "narrative" rather than "location," they transcend their geography.

8.2 Queensland (QLD)

Market Dynamics: Strong focus on vibrant, high-key colour palettes suited to tropical architecture. Indigenous art is a massive sector here.

Comparison: Dr Kennedy’s work, with its potentially earthier Wiradjuri palette (ochres, river themes), offers a counterpoint to the high-chroma "Saltwater" art of FNQ. This differentiation is valuable for collectors seeking variety.

8.3 Victoria (VIC)

Market Dynamics: A highly intellectualised art market. Collectors in VIC are often looking for "conceptual" rigour.

Comparison: Oz FineArt’s heavy reliance on academic theory ("Narrative Significance," "Provenance," "Scholar-Practitioner") aligns very well with the Victorian collector sensibility. The "darker," more introspective themes of "Legacy" and "Trauma Recovery" may find a more receptive audience in Melbourne/regional VIC than in the sun-drenched markets of QLD.

9. Conclusion and Strategic Outlook

Oz FineArt is a distinct outlier in the Australian regional art landscape. It rejects the passive "hang it and hope" model of traditional galleries in favour of an active, highly structured "Investment Grade" proposition.

Key Differentiators Identified:

Intellectual Property Bundling: The art is not sold alone; it is bundled with academic and cultural IP (The Custodianship Folder).

Therapeutic Functionalism: The art is sold as a tool for well-being, leveraging neuroaesthetic theory.

Trans-Indigenous Dialogue: The combination of Wiradjuri/Kamilaroi and Mi'kmaq narratives creates a unique global product.

Transparent Valuation: The "Comprehensive+" formula removes pricing ambiguity, building trust with analytical buyers.

Final Verdict on "Similar Class":

While Dr Kennedy and Dr Bowers share demographic traits with other regional artists (location, independent status), their commercial behaviour places them in a different class. They operate more like a Boutique Family Office for cultural assets than a typical artist studio.

Their "similar class" is not the local landscape painter, but rather the elite tier of independent consultants who have successfully productised their intellectual capital. For the collector, Oz FineArt offers a compelling blend of "Heart" (Sacred Commerce) and "Head" (Provenance and ROI potential), positioning them to capture share from both the traditional Indigenous art market and the emerging global wellness economy.

Report Author: Senior Art Market Economist

Date: December 2025

 

Bibliography

Artsy Editorial. "What Determines the Price of an Artwork?" Artsy, 2025. https://www.artsy.net/article/artsy-editorial-determines-price-artwork

Bank of America Private Bank. "Fall 2025 Art Market Update: Analyzing Current Trends." Bank of America Insights, 2025. https://www.privatebank.bankofamerica.com/articles/art-market-fall-update.html

Chatterjee, Anjan, and Eileen Cardillo. "Your Brain on Beauty." Penn Medicine News, 2025. https://www.pennmedicine.org/news/your-brain-on-beauty

Global Wellness Institute. Initiative Micro-Trends 2025. Global Wellness Institute, 2025. https://globalwellnessinstitute.org/wp-content/uploads/2025/07/2025-GWI-Initiative-Micro-Trends-v11.pdf

Global Wellness Institute. Wellness Real Estate: Looking Beyond 2024. Global Wellness Institute, 2024. https://globalwellnessinstitute.org/wp-content/uploads/2024/05/GWI-Wellness-Real-Estate-2024.pdf

iMotions. "Neuroaesthetics: Decoding the Brain's Love for Art and Beauty." iMotions Blog, 2025. https://imotions.com/blog/insights/neuroaesthetics-decoding-the-brains-love-for-art-and-beauty/

Joan Mitchell Foundation. Creating a Living Legacy (CALL): A Guide for Visual Artists. New York: Joan Mitchell Foundation, 2013. https://www.joanmitchellfoundation.org/uploads/pdf/CALL-Workbook-Dec2013.pdf

Lesley University. "The Value of Craft Art in Exploring Identity: A Critical Review of the Literature." Expressive Therapies Capstone Theses, 2025. https://digitalcommons.lesley.edu/cgi/viewcontent.cgi?article=1625&context=expressive_theses

Maddox Gallery. "State of the Art Market Today: Why Q4 2025 Could Mark a Definitive Shift in Global Art Market Trends." Maddox Gallery Market Analysis, 2025. https://maddoxgallery.com/news/472-state-of-the-art-market-today-q4-2025-art-market-analysis/

McKinsey & Company. "The Future of Wellness Trends: The $2 Trillion Global Market Gets a Millennial and Gen Z Glow-up." McKinsey Consumer Insights, 2025. https://www.mckinsey.com/industries/consumer-packaged-goods/our-insights/future-of-wellness-trends

National Centre for Creative Health. The Arts for Health and Wellbeing: Inquiry Report. Second Edition. 2017. https://ncch.org.uk/uploads/Creative_Health_Inquiry_Report_2017_-_Second_Edition.pdf

Robertson, Iain. The Business of Art: The Art Market. Leiden: Brill, 2016. https://brill.com/display/book/9789004338104/B9789004338104_005.pdf