You are a connoisseur - when it comes to choosing a work of abstract art.
Just like choosing a good wine ... it is all down to personal taste. If you like it then that is good enough - regardless of what others might think.
But how do you go about choosing the right painting to say what YOU want it to say. Different pictures make different assertions.
Here are some major statements:
1. Simply filling a wall space
2. Harmonizing your decor
3. Proclaiming your artistic prowess and astute eye for a good investment
4. Provocation
The first is in many ways the simplest to deal with. However, you do not want spaces filled with just anything so lets take a little time to consider the situation.
Choose a particular area - notice how the room relates to the space. The most common observation is of course that you are gazing at a number of straight lines - both horizontal and vertical. These in turn produce intertwining rectangles of varying sizes. Therefore the obvious choice would be to choose a work that is split up by straight lines, or includes rectangles. Once you are happy about the shapes you will be looking for then comes the colour. If you just want something decorative then a painting with similar colours to the surrounding area will tend to blend in, filling the space but not being too visible - a little like background music. If you are looking for something a bit stronger then look for bright or deep colours but of similar hue to the surrounding area. Having said that choosing a picture which has a lot of straight areas AND includes a splash of some other shape (say a broken circle or a gash of colour) will add a little extra dimension to the space to be filled. And if you want something even louder then you will have to wait until we talk about the provocation or challenge.
Harmonizing a room is a larger quest. Many people have succesfully harmonized their spaces using Feng Shui, and you will find many websites giving you specific tips. But you can make it far more personal by using your own observation and personal taste. To some the colour red means drama, alertness, and action, whilst others see green as relaxing, refreshing, light, and cool. What colours, then, would you regard as appropriate for your space? Put another way - what kind of space are you looking at? A quiet corner? A games area? The dinning room? ... Verbalize what the space is, then begin associating the space with the colour. For instance if I think of a dining area I am immediately taken back to my childhood ... dinner was served in a room of deep dark brown and light grey. I associate brown with food things like roasted food, chocolate, and that gravy my mother used to make - dark, delicious, and such a wonderful homely smell! Part of the beauty of harmonizing your space is that you can choose a number of paintings - all by the same artist. They will be different - and yet the same ... like an orchestra of different instruments all producing the same musical piece.
If you wish to be seen as an active knowledgeable art collector then you will have a lot of work to do. You will need to see what is the latest in abstract art - and make your own decisions as to whether you agree or if you dare to try to find your own choice of more innovative work. Do not just choose the well known artists - hunt out some of the more obscure painters. Find out as much as you can about them - get a "feel" for them and their work. You could end up being a trend setter, which will require you to make choices that many people will vehemently disagree with - but then again you might be the first to discover a true artistic genius. You are also at the cross roads between harmony and challenge. You can have one or the other ... or both! In this case the world is your oyster (that is if your budget will stretch that far).
The provocation is perhaps the most personal decision. Here your own history, your own personal life, your individual attitude to others and the whole world will be displayed - naked for all to see. Therefore it will be worth shouting about won't it!. Earlier we spoke about harmony - in this section disharmony, anarchy, aggression, and shock tactics are the rule of thumb. You will need to be precise in choosing your particular challenge. Once you have found it then seek out the painters who look towards the extreme of things - This is a dangerous yet exciting world where you may find yourself shocked. And just like the avid horror film buff, you may be looking for that image which will take you just a little bit further towards the edge ... and others WILL follow.
Showing posts with label abstract. Show all posts
Showing posts with label abstract. Show all posts
Saturday, May 15, 2010
Friday, April 16, 2010
What Is Abstract Art? One Artists Point Of View
So many people must be asking this question all the time ... and not getting satifactory answers because I keep seeing articles on the subject.
So, to add to the mix, I thought that, because I am an Abstract Artist, I would give my answer.
First lets see what the official version has to say. The second definition of "abstract" in the Concise Oxford Dictionary says "Idealistic, not practical; abstruse; (Art etc.) free from representational qualities" And it is this last description I want to look at.
That which is free from representational qualities is a picture (or other type of art discipline) that does not depict any recognisable image such as a figure, building, or sky. There is no purposeful reference to anything physically particular. Jackson Pollock, for instance, was one of the first abstract artists and produced the finest of examples... take a look at this: www.nga.gov/feature/pollock/painting.html
If you study this image closely it will soon become apparent that he randomly dripped paint onto a board laying flat on the floor. And if you read up a bit about him you will find that he even suspended paint-filled cans above a board, punched holes in the bottom of the can, and allowed the cans to swing, or be nudged, the paint slowly dripping to give a totally no-representative image. The important thing to remember here is that he had no intention of producing any kind likeness to anything physical whatsoever. So this style of art is truly an abstract work.
The difficulty comes when a piece of art is produced in a very loose and, even, child like way. Some might regard it as abstract. Here is an example of what I believe is NOT abstract art: go to www.guzzardi.it/arte/ then on the left side click on "Artisti Ceris" then click "D" go to the fourth name from the bottom "Jean Dubuffet" and click "Art Brut" there you will find three images of his work ... each one depicts roughly painted figures and faces, and although the left hand image looks like imageless lines I do believe there are faces to be seen there (Don't get me wrong - Jean Dubuffet produced many abstract works ... in fact that is what he was most famous for ... it's just that these examples are not).
Some might call these Dubuffet paintings semi-abstract - but I do not. For me there is no such thing - either the picture does not represent anything ... or it does - no matter how basic.
Another puzzle might be the later works of Mark Rothko. Look here: http://www.nga.gov/feature/rothko/late7.shtm Some might argue that a basic rectangular shape could be regarded as a representational image. But you need to read about his life and philosophy to understand that he was not painting rectangles but what has become known as colour fields. The scale of his massive works and the fact that he gave up even titling his pieces should dispell any possibility of his work being anything other than the purer form of abstract art.
I would like to finish with one of my own enigmatic examples: www.ablot.com/passion3.htm in which I have sort to "portray" the idea of deep or spiritual movement. Such an explanation is, of course, dangerous in that I have used words like "portray", "spiritual" and "movement" - all of these have associations ... but not necessarily physical ones! It is my belief that there is a relationship to be had with my spirit ... and it is the purist form of abstraction. You can find out more about that in my blog on my website.
The only other thing to say here is that the abstract artist is seeking to put on canvas such non-figurative "imagery" as emotion, thought, the greater self, anarchy, and total randomness ... to name but a few. And I intend to examine these "non-figures" in a bit more detail in my articles starting with "How to produce an abstract image - Part 2" You will be very welcome to come along and read it!
So, to add to the mix, I thought that, because I am an Abstract Artist, I would give my answer.
First lets see what the official version has to say. The second definition of "abstract" in the Concise Oxford Dictionary says "Idealistic, not practical; abstruse; (Art etc.) free from representational qualities" And it is this last description I want to look at.
That which is free from representational qualities is a picture (or other type of art discipline) that does not depict any recognisable image such as a figure, building, or sky. There is no purposeful reference to anything physically particular. Jackson Pollock, for instance, was one of the first abstract artists and produced the finest of examples... take a look at this: www.nga.gov/feature/pollock/painting.html
If you study this image closely it will soon become apparent that he randomly dripped paint onto a board laying flat on the floor. And if you read up a bit about him you will find that he even suspended paint-filled cans above a board, punched holes in the bottom of the can, and allowed the cans to swing, or be nudged, the paint slowly dripping to give a totally no-representative image. The important thing to remember here is that he had no intention of producing any kind likeness to anything physical whatsoever. So this style of art is truly an abstract work.
The difficulty comes when a piece of art is produced in a very loose and, even, child like way. Some might regard it as abstract. Here is an example of what I believe is NOT abstract art: go to www.guzzardi.it/arte/ then on the left side click on "Artisti Ceris" then click "D" go to the fourth name from the bottom "Jean Dubuffet" and click "Art Brut" there you will find three images of his work ... each one depicts roughly painted figures and faces, and although the left hand image looks like imageless lines I do believe there are faces to be seen there (Don't get me wrong - Jean Dubuffet produced many abstract works ... in fact that is what he was most famous for ... it's just that these examples are not).
Some might call these Dubuffet paintings semi-abstract - but I do not. For me there is no such thing - either the picture does not represent anything ... or it does - no matter how basic.
Another puzzle might be the later works of Mark Rothko. Look here: http://www.nga.gov/feature/rothko/late7.shtm Some might argue that a basic rectangular shape could be regarded as a representational image. But you need to read about his life and philosophy to understand that he was not painting rectangles but what has become known as colour fields. The scale of his massive works and the fact that he gave up even titling his pieces should dispell any possibility of his work being anything other than the purer form of abstract art.
I would like to finish with one of my own enigmatic examples: www.ablot.com/passion3.htm in which I have sort to "portray" the idea of deep or spiritual movement. Such an explanation is, of course, dangerous in that I have used words like "portray", "spiritual" and "movement" - all of these have associations ... but not necessarily physical ones! It is my belief that there is a relationship to be had with my spirit ... and it is the purist form of abstraction. You can find out more about that in my blog on my website.
The only other thing to say here is that the abstract artist is seeking to put on canvas such non-figurative "imagery" as emotion, thought, the greater self, anarchy, and total randomness ... to name but a few. And I intend to examine these "non-figures" in a bit more detail in my articles starting with "How to produce an abstract image - Part 2" You will be very welcome to come along and read it!
Wednesday, January 27, 2010
How To Produce An Abstract Image II - From Anarchy To Abstraction
I want to go into a little more detail of the different ways you can approach the enigmatic task of producing an abstract. In this article we will look at the Anarchist and the Abstractist.
If you have an anarchistic attitude within you then abstract art is for you. You will never run out of ideas - in fact even if you had NO ideas then your temperament alone would find a most fundermental mood swing or dark (and maybe on more rarer occasions - light) moment to enrap you within its aggressive drama and painful colours. Willem de Kooning's "Gotham News" is a good example of anarchistic abstraction - just look at this picture - http://www.albrightknox.org/ArtStart/sKooning.html. Wild movement mixed with such vigorous aggression.
Anarchists tend to be wildly demonstrative in their approach to ... everything! They have the potential to be able to utilize almost anything at hand that might provide them with contradictory ideas and totally original materials.
However, there is a big "down" side to what might be seen as the almost perfect abstract artist. An Anarchistic attitude tends to come from a tremendous sense of lacking in many areas. So things like confidence can be a very fearful barrier to the power of a creative flow. Therefore I believe that by working on some of the practical ideas written below obstacles like shyness and fear can slowly be weakened until finally the real artist begins to rise out from the depths of darkness or light in an increasingly "louder" manner.
The Abstractist is in many ways similar to the Anarchist. The difference here is that the Abstractist mind has a colder capability of "seeing" completely non-representative imaginings. And although both the Abstractist and the Anarchist generally produce work from deep within. The Anarchist cultivates a more physical "anti" approach, whereas the Abstractist appears to have the knack of actually visualizing dots, lines, and shapes when looking at every day objects.
Notice the similarities between de Kooning's "Gotham News" and Peter Lanyan's "Wreck" - http://www.ablot.com/wreck.htm Then take another look and seek to find any differences. "Wreck" is very anarchistic, but there are at least two variants. First the colours of "Wreck" give off an almost tangible "landscape" feel. And secondly, Lanyan seems to have made decisions when placing of lines and shapes. This is a classical abstract attitude. Another fine Abstractist example would be Howard Hodgkin.
OK lets practice. Get yourself a large piece of paper - any paper ... even newspaper will do. You will need plenty of Red, Blue, and Yellow (remember the practicals in Part I) acrylics or cheap powder paints will be fine. A one fairly thin paint brush, and one fairly thick. With the first attempt do not "think" of anything other then lines. Place the paints in easy reach for you to work quickly. Ready? Thin brush first - dip it deep into any colour then quickly bring the brush into contact with the paper - do not stop moving. Move in any direction. Paint faster. Paint one continual line. As soon as the brush starts to run dry dip it into paint - any of the colours. Keep doing this until you have filled the paper with a mass of scribbles. Try this about five or six times - not caring what is produced (you can throw it away - no one needs to see it ... or you might want to frame it!).
Now repeat the above practical only this time try using what is sometimes called "short stroke" - which is precisely that. Rather than one continual line, produce lots of short lines - you decide on the length. But make sure you are still acting as though it is one continual line - you are just lifting the brush at the appropriate time. Repeat this a few times.
Next decide which you felt more at home with. Produce another image in that way only this time look for shapes. When you see one, load your brush and paint the outline of the shape - very quickly. Finally get the thick brush and load it with a colour and roughly fill in the shape. Carry on mark making - even if it runs over any painted shapes.
Finally try again with line and shapes, and this time adding something else - you decide. If you really cannot think of anything try choosing any of the following: Screwing up the whole paper, then unfolding it and carrying on painting; rip or cut holes into the paper - and carry on painting; spatter (a well used favourite) paint onto the paper; find rice, spagetti, sand, earth, dust ... anything - pour it or sprinkle it - then carry on painting ... the list is endless.
Of course you might not be at home with this ... too messy you might say. Then, perhaps you might be a Surrealist - or maybe a Visionary ... that will be the next article.
If you have an anarchistic attitude within you then abstract art is for you. You will never run out of ideas - in fact even if you had NO ideas then your temperament alone would find a most fundermental mood swing or dark (and maybe on more rarer occasions - light) moment to enrap you within its aggressive drama and painful colours. Willem de Kooning's "Gotham News" is a good example of anarchistic abstraction - just look at this picture - http://www.albrightknox.org/ArtStart/sKooning.html. Wild movement mixed with such vigorous aggression.
Anarchists tend to be wildly demonstrative in their approach to ... everything! They have the potential to be able to utilize almost anything at hand that might provide them with contradictory ideas and totally original materials.
However, there is a big "down" side to what might be seen as the almost perfect abstract artist. An Anarchistic attitude tends to come from a tremendous sense of lacking in many areas. So things like confidence can be a very fearful barrier to the power of a creative flow. Therefore I believe that by working on some of the practical ideas written below obstacles like shyness and fear can slowly be weakened until finally the real artist begins to rise out from the depths of darkness or light in an increasingly "louder" manner.
The Abstractist is in many ways similar to the Anarchist. The difference here is that the Abstractist mind has a colder capability of "seeing" completely non-representative imaginings. And although both the Abstractist and the Anarchist generally produce work from deep within. The Anarchist cultivates a more physical "anti" approach, whereas the Abstractist appears to have the knack of actually visualizing dots, lines, and shapes when looking at every day objects.
Notice the similarities between de Kooning's "Gotham News" and Peter Lanyan's "Wreck" - http://www.ablot.com/wreck.htm Then take another look and seek to find any differences. "Wreck" is very anarchistic, but there are at least two variants. First the colours of "Wreck" give off an almost tangible "landscape" feel. And secondly, Lanyan seems to have made decisions when placing of lines and shapes. This is a classical abstract attitude. Another fine Abstractist example would be Howard Hodgkin.
OK lets practice. Get yourself a large piece of paper - any paper ... even newspaper will do. You will need plenty of Red, Blue, and Yellow (remember the practicals in Part I) acrylics or cheap powder paints will be fine. A one fairly thin paint brush, and one fairly thick. With the first attempt do not "think" of anything other then lines. Place the paints in easy reach for you to work quickly. Ready? Thin brush first - dip it deep into any colour then quickly bring the brush into contact with the paper - do not stop moving. Move in any direction. Paint faster. Paint one continual line. As soon as the brush starts to run dry dip it into paint - any of the colours. Keep doing this until you have filled the paper with a mass of scribbles. Try this about five or six times - not caring what is produced (you can throw it away - no one needs to see it ... or you might want to frame it!).
Now repeat the above practical only this time try using what is sometimes called "short stroke" - which is precisely that. Rather than one continual line, produce lots of short lines - you decide on the length. But make sure you are still acting as though it is one continual line - you are just lifting the brush at the appropriate time. Repeat this a few times.
Next decide which you felt more at home with. Produce another image in that way only this time look for shapes. When you see one, load your brush and paint the outline of the shape - very quickly. Finally get the thick brush and load it with a colour and roughly fill in the shape. Carry on mark making - even if it runs over any painted shapes.
Finally try again with line and shapes, and this time adding something else - you decide. If you really cannot think of anything try choosing any of the following: Screwing up the whole paper, then unfolding it and carrying on painting; rip or cut holes into the paper - and carry on painting; spatter (a well used favourite) paint onto the paper; find rice, spagetti, sand, earth, dust ... anything - pour it or sprinkle it - then carry on painting ... the list is endless.
Of course you might not be at home with this ... too messy you might say. Then, perhaps you might be a Surrealist - or maybe a Visionary ... that will be the next article.
Thursday, January 14, 2010
Buying An Abstract Painting
You may be mistaken in thinking that buying a piece of abstract art would be a simple thing to do. You just select the work you want... and buy it!
The truth will creep up on you as soon as you look at the first painting "it is not quite the right one, so I will look for another".
Here is the first realization - and question to ask yourself - why exactly is this piece you are looking at "not quite right"? The answer can be manifold:
1. It includes a colour I do not like
2. I am not sure it will go with another item in the space I would like to place it
3. A slow realization that a certain personal undesirable association is being emitted from the painting
4. It looks great but I am not sure it will fit the space
5. It is just right but the price is a little bit more than I wanted to pay... and the list goes on.
Although I do not have all the answers I will endeavour to reveal, from my own personal experiences, a few solutions.
So, you see a picture you like but the colour combination is wrong. Put simply the thing to do is to contact the artist and tell them your dilemma. You will find that some of them will either be able to reproduce a similar work in the colours you prefer, or they will be willing to notify you when and if they produce a work that might be nearer to the colours theat you require.
If size is an issue then I would advise the same as above - contact the artist and tell them the problem. I believe you will receive a similar reply to that which I have written above.
Make sure that when you do make a purchase that the artist is offering a return policy. I have a ten day return policy which means that if you buy a painting and hang it in your space - if within ten days of purchasing it you become uncomfortable with it for any reason and you cannot live with it, then you may return the piece and your money will be returned. An important point here worth mentioning is the fact that you have made certain decisions on buying this piece of work, therefore it is worthwhile mentioning it to the artist which will enable them, if they so inclined, to produce a work that has omitted the undesirable entity. This way you may well end up with a work that will be of greater value to you - having communicated your dilemma.
Price can be a tricky challenge - but many artists offer different ways to help you buy the piece you want. If, for instance, the piece you like is too expensive for you then you have a number of choices. Perhaps the most preferable choice is for you to negotiate the price with the artist. However, please bear in mind that the artist has produced a totally unique painting - there is nothing like it in all the world! Also spare a thought for the fact that the artist will have spent time struggling to get the work out onto the canvas. A well known saying is that a piece may well have taken only a few hours to produce, but you should also take into account the years the artist has been at work - so if someone says to me "it can only have taken you three hours at the most" I reply "no... it has taken me FORTY YEARS and three hours!" If you keep these in mind then negotiate with what you might see as a realistic price for you and a price that will have taken the above into account for the artist.
Some artists will not barter prices - but they may be willing to sell you the work if you pay by installments. You have to ask yourself here "Do I REALLY want this piece?" If you answer yes then you will find the money... because you want to - you want the work.
Let us say that you see an artists work - you love the style - you would very much like to have a painting on your wall... but you see nothing that grabs you. Try contacting the artists and commissioning them to painting you a picture... this way you may be able to influence the end result by instructing the artist to use certain colours, or specific shapes. Or if they are not inclined to work that way then they might put you on their mailing list that will inform you when their latest piece is about to go on show - you will be offered "first refusal".
One final thing worth mentioning is the fact that a growing number of artists are making their works available as high quality giclee prints. These reproductions are very close to the original work, and some of the reproduction houses actually ensure that every brush stroke has the appropriate texture and "feel". So in many ways you could purchase a work that is almost identical to the original piece except for one very big fact - the price of the print. The print will be of a limited edition, making it a collectible investment - and it will have been checked, numbered, and signed by the artist.
If none of the above proves to be useful to you then the simplest thing to do is contact the artist and just talk to them, tell them what you think of their work, what you are looking for - anything... just communicate with them, and I think you will find that you will not only buy yourself something that you will love and cherish ... but you will also bond with the artist themself in a way that you could never do if you walked into a place selling paintings and chose a piece hanging on a wall.
The truth will creep up on you as soon as you look at the first painting "it is not quite the right one, so I will look for another".
Here is the first realization - and question to ask yourself - why exactly is this piece you are looking at "not quite right"? The answer can be manifold:
1. It includes a colour I do not like
2. I am not sure it will go with another item in the space I would like to place it
3. A slow realization that a certain personal undesirable association is being emitted from the painting
4. It looks great but I am not sure it will fit the space
5. It is just right but the price is a little bit more than I wanted to pay... and the list goes on.
Although I do not have all the answers I will endeavour to reveal, from my own personal experiences, a few solutions.
So, you see a picture you like but the colour combination is wrong. Put simply the thing to do is to contact the artist and tell them your dilemma. You will find that some of them will either be able to reproduce a similar work in the colours you prefer, or they will be willing to notify you when and if they produce a work that might be nearer to the colours theat you require.
If size is an issue then I would advise the same as above - contact the artist and tell them the problem. I believe you will receive a similar reply to that which I have written above.
Make sure that when you do make a purchase that the artist is offering a return policy. I have a ten day return policy which means that if you buy a painting and hang it in your space - if within ten days of purchasing it you become uncomfortable with it for any reason and you cannot live with it, then you may return the piece and your money will be returned. An important point here worth mentioning is the fact that you have made certain decisions on buying this piece of work, therefore it is worthwhile mentioning it to the artist which will enable them, if they so inclined, to produce a work that has omitted the undesirable entity. This way you may well end up with a work that will be of greater value to you - having communicated your dilemma.
Price can be a tricky challenge - but many artists offer different ways to help you buy the piece you want. If, for instance, the piece you like is too expensive for you then you have a number of choices. Perhaps the most preferable choice is for you to negotiate the price with the artist. However, please bear in mind that the artist has produced a totally unique painting - there is nothing like it in all the world! Also spare a thought for the fact that the artist will have spent time struggling to get the work out onto the canvas. A well known saying is that a piece may well have taken only a few hours to produce, but you should also take into account the years the artist has been at work - so if someone says to me "it can only have taken you three hours at the most" I reply "no... it has taken me FORTY YEARS and three hours!" If you keep these in mind then negotiate with what you might see as a realistic price for you and a price that will have taken the above into account for the artist.
Some artists will not barter prices - but they may be willing to sell you the work if you pay by installments. You have to ask yourself here "Do I REALLY want this piece?" If you answer yes then you will find the money... because you want to - you want the work.
Let us say that you see an artists work - you love the style - you would very much like to have a painting on your wall... but you see nothing that grabs you. Try contacting the artists and commissioning them to painting you a picture... this way you may be able to influence the end result by instructing the artist to use certain colours, or specific shapes. Or if they are not inclined to work that way then they might put you on their mailing list that will inform you when their latest piece is about to go on show - you will be offered "first refusal".
One final thing worth mentioning is the fact that a growing number of artists are making their works available as high quality giclee prints. These reproductions are very close to the original work, and some of the reproduction houses actually ensure that every brush stroke has the appropriate texture and "feel". So in many ways you could purchase a work that is almost identical to the original piece except for one very big fact - the price of the print. The print will be of a limited edition, making it a collectible investment - and it will have been checked, numbered, and signed by the artist.
If none of the above proves to be useful to you then the simplest thing to do is contact the artist and just talk to them, tell them what you think of their work, what you are looking for - anything... just communicate with them, and I think you will find that you will not only buy yourself something that you will love and cherish ... but you will also bond with the artist themself in a way that you could never do if you walked into a place selling paintings and chose a piece hanging on a wall.
Friday, January 8, 2010
Abstract Art As Therapy
Abstract art is not just a mixture of colourful meaningless patterns and arbitrary shapes.
There is, I believe, a definate therapeutic value to be found in most of the enigmatic marks made by the very different styles available today. What appears to be the most important decision to make is a very careful consideration of the specific audience in conjunction with the choosing of the appropriate artwork. This is not something to be taken lightly or quickly. This can cover anybody within the wide spectrum of individual audiences: a busy boardroom environment or a single office or room where quick thinking, fast reactions, and serious decision making is required; or a worker who returns from a hard days work simply wanting to be visually massaged by an easily observed enigma; or even the space inwhich the desperate and mostly misunderstood person who is gradually loosing their tentative hold on the sense of reality. There is a tremendous variety of possibilities.
Here are some suggested associations from one artists point of view:
Colour plays an obvious healing and therapeutic role to be found in a carefully selected crafted piece, and so colour-field work, which is growing in popularity, first conceived by artists like Mark Rothko and Ellsworth Kelly with their vast areas of empty colour space, might add a general feeling of peace and quiet to an otherwise noisy and hectic environment. With there being very few variations within such a large image a gentle sense of immersion into abstract stillness can slow down any fretful or irratic thinking, and even assist with the adrenal challenge of a creative.
Indefinate shapes or patterns by the likes of Jackson Pollock, Peter Lanyon, and Howard Hodgkin (again, similar works inspired by these very different abstract styles can be seen in many exhibitions, shops and galleries), show a very positive association, and may perhaps persuade a mind filled with illogical thoughts to pause, simply take in the apparent spontenaiety, and then take a different direction. Hodgkin style works in particular can be seen as puzzle like canvases inwhich the observer has no real point of reference so is free to "start" anywhere upon the picture. And because there are very few defined areas sometimes the observer inevitably finds themself either regarding the piece with little emotion, and therefore can freely make a comment - positive or not.
Let us not deny, however, the fact that many an image that has the potential to provoke a negative response can also be of great value to the observer who might actually benefit from seeing such a challenging picture that bears such a bad association. Better there on the wall than here inside the head. In this case the classic associations of red for blood and danger, black for death and sin, brown for decay and illness, along with dramatic lines and movements found in a painting are equally valuable stimulii if revealed within the appropriate environment. This comes back to my point made at the beginning - when choosing a picture, very careful consideration must be taken in order to find that one work of art which speaks directly to the very deepest parts of the observer.
There is, I believe, a definate therapeutic value to be found in most of the enigmatic marks made by the very different styles available today. What appears to be the most important decision to make is a very careful consideration of the specific audience in conjunction with the choosing of the appropriate artwork. This is not something to be taken lightly or quickly. This can cover anybody within the wide spectrum of individual audiences: a busy boardroom environment or a single office or room where quick thinking, fast reactions, and serious decision making is required; or a worker who returns from a hard days work simply wanting to be visually massaged by an easily observed enigma; or even the space inwhich the desperate and mostly misunderstood person who is gradually loosing their tentative hold on the sense of reality. There is a tremendous variety of possibilities.
Here are some suggested associations from one artists point of view:
Colour plays an obvious healing and therapeutic role to be found in a carefully selected crafted piece, and so colour-field work, which is growing in popularity, first conceived by artists like Mark Rothko and Ellsworth Kelly with their vast areas of empty colour space, might add a general feeling of peace and quiet to an otherwise noisy and hectic environment. With there being very few variations within such a large image a gentle sense of immersion into abstract stillness can slow down any fretful or irratic thinking, and even assist with the adrenal challenge of a creative.
Indefinate shapes or patterns by the likes of Jackson Pollock, Peter Lanyon, and Howard Hodgkin (again, similar works inspired by these very different abstract styles can be seen in many exhibitions, shops and galleries), show a very positive association, and may perhaps persuade a mind filled with illogical thoughts to pause, simply take in the apparent spontenaiety, and then take a different direction. Hodgkin style works in particular can be seen as puzzle like canvases inwhich the observer has no real point of reference so is free to "start" anywhere upon the picture. And because there are very few defined areas sometimes the observer inevitably finds themself either regarding the piece with little emotion, and therefore can freely make a comment - positive or not.
Let us not deny, however, the fact that many an image that has the potential to provoke a negative response can also be of great value to the observer who might actually benefit from seeing such a challenging picture that bears such a bad association. Better there on the wall than here inside the head. In this case the classic associations of red for blood and danger, black for death and sin, brown for decay and illness, along with dramatic lines and movements found in a painting are equally valuable stimulii if revealed within the appropriate environment. This comes back to my point made at the beginning - when choosing a picture, very careful consideration must be taken in order to find that one work of art which speaks directly to the very deepest parts of the observer.
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