Contemporary abstract art represents a significant departure from traditional art forms, focusing on the use of shapes, colors, and forms to express emotions and ideas rather than depicting recognizable subjects. This artistic movement emerged in the late 19th and early 20th centuries, gaining momentum through the work of pioneers such as Vasily Kandinsky and Piet Mondrian, who sought to discover the power of color and form in conveying deeper meanings. In contrast to classical art, which often aimed for realism and detailed representation, contemporary abstract art embraces abstraction, allowing viewers to engage their imaginations and emotions in diverse ways.
Modern artists employ a multitude of styles and techniques within the realm of contemporary abstract art, which in turn elevates its expressive capacity. Techniques such as gestural painting, which emphasizes spontaneous brushwork, or the use of mixed media to incorporate varied materials, contribute to a richer visual experience. Moreover, styles such as minimalism, post-painterly abstraction, and colour field painting establish a framework within which artists can explore themes of perception, perception of space, and emotional resonance. By breaking from traditional constraints, these artists invite audiences to interpret works based on their subjective experiences.
One of the most compelling aspects of contemporary abstract art is its ability to elicit complex emotional responses, making it a powerful choice for home decor. Whether through bold color contrasts or intricate layering, these artworks can influence mood and atmosphere within a space, creating an environment that resonates with personal feelings and beliefs. As a result, incorporating contemporary abstract art into home design not only adds visual interest but also fosters an emotional connection to the space, enhancing the overall aesthetic and enjoyment of the surroundings.
The Emotional Resonance of Abstract Art
Contemporary abstract art serves as a profound conduit for emotional expression, evoking a spectrum of feelings in viewers that can range from joy to introspection. This art form strips away literal representation, allowing individuals to immerse themselves in shapes, colours, and textures that resonate with their personal experiences. The absence of recognizable figures in abstract works encourages viewers to draw their interpretations, which can lead to deeply personal emotional reactions.
Colour plays a crucial role in altering mood and atmosphere. For instance, vibrant reds and yellows may elicit feelings of energy and excitement, while blues and greens often promote calmness and tranquillity. Each hue comes with its psychological associations; warm colours are typically energizing, while cool colours tend to soothe, making the strategic use of colour in abstract art essential for evoking the desired emotional response. Research supports these ideas, suggesting that specific colours can significantly impact our mood and emotional well-being.
Shapes and forms also contribute to the emotional landscape created by contemporary abstract art. Jagged edges may induce a sense of chaos or tension, while smooth curves often resonate with comfort and ease. The texture of the artwork, whether it is layered, flat, rough, or polished, adds another layer to the viewer’s experience. The interplay of these elements creates a dynamic environment that transforms a mundane room into a sanctuary for reflection or joy.
Personal stories abound regarding the transformative power of abstract art. For instance, a visitor to my market stall spun around and declared “I love your work because it makes me feel free!”. This illustrates how contemporary abstract art can not only enhance the aesthetic of a space, but also significantly influence the emotional well-being of those who engage with it. The unique ability of abstract art to resonate emotionally makes it a powerful tool for transformation within any environment.
Transforming Your Space with My Art
Choosing art to enhance your home can significantly impact the atmosphere and emotional resonance of your living spaces. The first step in this transformative journey is to reflect on your personal style and emotional needs. Consider the moods you wish to evoke in each room. For instance, if you want to create a calm and serene environment in your bedroom, look for pieces that feature cool tones and fluid shapes, which can inspire tranquillity.
To incorporate abstract art effectively, evaluate the space where you plan to display it. A large, vibrant piece can serve as a focal point in a spacious living room, drawing the eye and instilling energy into the room. For smaller areas, such as a cozy reading nook, opt for a series of smaller works that can be arranged in a gallery style on the wall. This approach not only enhances visual interest but also invites curiosity and exploration.
When selecting artwork, consider my available* pieces to find those that resonate with your aesthetic. For example, “Spring fever” with its vivid yellow greens, slightly jarring colour contrast and scratchy plant drawings, may invigorate a workspace, stimulating creativity and focus. Alternatively “Nearer to humanity” has many similar colours, but evokes a sense of calm with its more flowing forms and soothing colour palette, perfect for a space intended for relaxation.
Incorporating contemporary abstract art is about more than decoration; it is an opportunity to express personal emotions and create a nurturing environment within your home. By thoughtfully choosing pieces that align with your taste, you cultivate an atmosphere that feels distinctly yours, ultimately transforming both your space and experience.
* These original works are available at the time of writing this post. Of course I cannot guarantee their availability when you are reading!
So what is a Giclée print and how does that differ from an art poster or art print?
A Giclée print is a high-quality reproduction of an original artwork, created using professional inkjet printers. The term “Giclée” (pronounced zhee-clay) comes from the French word meaning “to spray” or “to squirt,” referring to the way in which ink is applied onto the printing surface. Posters or ”art prints” can be much cheaper than Giclée because lower quality materials and equipment are used in production. (eg Dye based inkjet printers, laser printers, fewer ink colours, lesser quality papers, etc.)
Here are some key characteristics of high quality professional Giclée prints:
High-Quality Printing: Giclée printing utilizes specialized inkjet printers and archival-quality pigment inks to produce prints with exceptional detail, colour accuracy, and longevity. These printers use as many as 8-12 different ink colours, in addition to multiple blacks and grays, compared to consumer/business inkjet printers which generally only have 3 colours plus black. These printers can achieve a wide range of colours and reproduce fine details with precision, resulting in prints that closely resemble the original artwork.
Archival Materials: Giclée prints are printed on archival-quality paper or canvas, which is specifically designed to resist fading and deterioration over time. This ensures that the prints remain vibrant and stable for many years, often with a lifespan of over 100 or even 200 years when properly cared for. Both Canvas and Paper may be used for Giclée prints. In the case of my prints, I prefer using Hahnemühle papers, which are extremely high quality and recognized as industry leaders.
Limited Editions: Some artists and printmakers produce Giclée prints in limited editions, with each print individually numbered and signed by the artist. This adds value and exclusivity to the prints, making them desirable for collectors. However producing open editions allows the artist to keep the price a bit lower, and therefore within reach of those who may not be able to afford original art or limited editions. This is purely a matter of choice by the artist. At this date all my Giclée prints are Open edition prints. I may do limited editions in the future – deciding whether or not to do this is complex, and involves, among other things, the price that I charge for my original art compared to prints.
Versatility: Giclée printing can be used to reproduce a wide variety of artworks, including paintings, drawings, photographs, and digital art. The flexibility of the printing process allows artists to create prints in various sizes and formats, catering to different preferences and display options.
Cost-Effective Reproduction: Giclée printing offers a cost-effective way for artists to reproduce their artwork in small quantities without the need for traditional printing plates or setup costs. This makes it accessible to artists who wish to offer affordable prints of their work to a wider audience.
Overall, Giclée printing has become a popular choice for artists, galleries, and collectors seeking high-quality reproductions of original artwork. It combines the precision and versatility of inkjet printing technology with the archival quality of materials, resulting in prints that faithfully capture the beauty and detail of the original artwork.
Make sure you know what you are buying when looking for art prints. If you are looking for some inexpensive decor – then poster prints may be the way to go. They are inexpensive to print and fun – but they won’t last long and may not accurately reproduce the original artwork. If you are interested in investing in archival art prints that will stand the test of time and beautify your home for many years, Giclée prints made with pigment inks on archival papers are your best choice. Ask the artist about the papers and inks, what choices they have made, where they were printed, and whether or not materials they are presented in are archival quality. Not all inkjet prints can be considered Giclée– if dye based inks are used for printing, this is not a “true” Giclée.
As a side note, all of my Giclée prints which you’ll find on this website are printed in studio, by me. I sign each one individually. My printer is an Epson 3880 which is equipped with 9 high quality pigment inks. I mainly use Hahnemühle papers, particularly the German Etching paper or Photo Rag, both of which have a wonderful textural quality and matte finish. If I’m printing something that I feel needs a bit more lustre, I turn to Ilford Smooth Pearl or Gold Fibre Silk – both are wonderful papers that show a beautiful depth of colour with a slight lustre. All of the inks and papers I use have been tested and proven to be of archival quality by Wilhelm Research – considered the authority on inkjet paper / ink testing.
Getting all D&M here for a while on art – good or bad – and what it means to me.
Art is an experience
To me, this quote from Robert Motherwell sums it up nicely. The making of the art is what moves me, what really gets me excited. The processes of layering, drawing, scratching, collage. The exploration and the experience. The finished piece is simply an artifact of the art.
The viewer of that artifact will have an entirely different experience than I did in the making. In fact, no two viewers will have the same experience, because we are all unique, and while we may share many things in common, we do not experience them in the same way. And again, it is the viewer’s experience of the artwork that is important to them (putting aside those strange people who buy art as an investment and store it in a vault somewhere – they don’t value the experience, and in that regard I would argue they don’t value the art at all).
Art is a verb
Once you get your head around the fact that this concept redefines art as a verb, you need to consider what makes art “good” or “bad”.
I contend, in this context, that there is no bad art. Since the art is the experience of making and/or viewing, my experience of making the art and the viewer’s experience are both valuable. And most importantly, considering the experience of multiple viewers, some may consider the final artifact of my experience good, and others may consider it bad. As the saying goes, “You can’t please everyone all the time”.
Many artists are afraid to show works in progress or unfinished pieces. I would like to say that is limited to beginning and naturally timid artists, but it is not. Even well established artists may suffer from this. Sadly, they may also be afraid to show finished artwork that they consider “bad”. It is really irrelevant.
Rather than hearing “here’s my new painting I’m so proud”, I would enjoy hearing from an artist that says “I worked really hard on this painting, and it hasn’t turned out the way I expected, but along the way I learned something really great.” And then they can follow up with that great finished piece that incorporates the learning and say “I’m so glad I made that bad painting – look at what it taught me. The experience was so valuable.”
"Toffeelicious" - and Taffy!
In the spirit of sharing, regardless of whether you might think this is good or bad, here is Toffeelicious.
This is a mixed media painting I completed 2 years ago. At the time I thought it was quite good – now, not so much. But I can tell you that I had so much fun making it, and I also learned some valuable lessons about collage and how to keep my papers from warping too much in the process. The art of making taught me, and for that reason I have no desire to hide this, or pretend it isn’t mine, or destroy it or anything like that.
What I have done is use that painting to create some really cool designs in my wearable art line – introducing my new collection “Taffy”. Now tell me that’s not a fun experience for someone!
So please, artists, I implore you – share your artwork, share your processes, don’t be afraid to “fail” – because if you are “arting” (it’s a verb now remember) you are going to have ups and downs – but if you embrace the process you are doing exactly what you are supposed to do, and that is a total success.
And dear viewers…. please know, that if you are looking at someone’s painting, or sculpture or anything that they have crafted, know that it was made with their heart and soul. That the experience they had was so wonderful, and resulted in this artifact that someone may enjoy. Whether you feel the artifact is “good” or “bad”, the art of making was good, and your experience and acknowledgment of that goodness will help that artist grow and thrive.
Very happy to say that Central Park Conservancy chose two of my Giclee prints for their spring bird narrative – the prints will be available in their shops!
If you’re in New York please support the conservancy and check out their shop. My prints are “Early bird” and “Nesting #3” and I’m sure they’ll have lots of other beautiful things for you to choose from!
Sustainability and waste reduction is my goal. Pretty is irrelevant.
Everyone’s had the experience – ordering a tiny article from Amazon or elsewhere, and receiving it in an enormous oversized box with a ton of bubble wrap, or those bags of air. This makes me cringe.
Recently I watched a reel by an artist showing how she packs her prints. It all looked very pretty, but it was so over the top that it made my head reel. There were stickers and cards and sleeves and tissue and multiple shipping tubes and …. all of it brand new stock. And she went on about how important it is to her to source environmentally friendly packaging.
Reality check chick – if you are constantly buying new packaging and throwing out the packaging you get from suppliers etc. or wherever you can source used materials, and putting on stickers just because they are pretty and another sticker just to say “Open” on the end of the tube – you are not being environmentally friendly! (And who the heck doesn’t know how to take the plastic cap off a mailing tube anyway? Who actually needed that sticker???)
A small part of my stash of bubble wrap – waiting to be re-used.
I understand how nice it is to receive pretty things – but should receiving the art not be enough? Does the appearance of the outer box and padding materials really make your experience that much better? Sustainable packaging just makes sense. As long as it is safely and securely packed, as far as I’m concerned, the rest is irrelevant – a waste of materials and money. And for the buyer, that means their money – because all of that is just going to increase my costs. Believe me dear collector, if it costs me an extra $10 or $20 to make a package over-the-top pretty, you are going to be the one paying for it!
So here’s my view. We moved internationally 2.5 years ago – I have an enormous supply of heavy duty boxes and bubble wrap. Add to that the fact that we’re in a rural area and so much of my shopping is done online – I’m swimming in packaging materials. There’s no way I’m going to throw all of that into a dump, and then go and spend lots of money to buy new pretty packaging. If you purchase something from me you are almost guaranteed to get recycled packaging materials. I do buy a few things, and then when I do, I try to be environmentally responsible – minimal but good quality packaging with recycled content that hopefully is also recyclable or re-usable.
Yes, the customer experience is important – of course! Anything I send will be packed securely – probably over the top securely to keep it safe – because I’ve got all this packaging material here and that is an important thing. I do spend a bit of extra time to make things “fit” without making the packaging too big. I try to trim edges and make the recycled material look a bit nicer, so there isn’t rough or dangly bits.
Safely packing a small painting All recycled materials except the tape. I’m content to use a Sharpie to write “Fragile” – no special sticker needed.
You’ll probably also get a handwritten thank you note – my writing isn’t pretty but you know it’s personal. I’m unlikely to be sending it with a special sticker that says “Thank you” (unless I use the stickers that one of my suppliers gives me for free – and then I’m still going to send a hand written note.) OR, you might get one of my 1-of-a-kind painted thank you tags. I use these at markets – they hang on the side of my (recycled content) shopping bags. Shoppers love them 🙂
When you open your artwork or clothing – the final layer of packaging, well that will be a wee bit pretty. Tissue around the clothing with some pretty washi tape to close, so everything stays nicely folded, original paintings on paper matted or at least with a rigid backing board and in an archival clear sleeve. Framed paintings might not look so pretty with cardboard corners and tape across the glass. None of this is done in excess – they protect that special item you’ve been waiting for from damage.
So, if you need extra special pretty packaging to make you feel good – I’ve got to say, you’re shopping with the wrong artist.
How much is enough
Original painting in acid free mat, with Certificate of Creation. Both of these will be slipped into a clear archival sleeve with rigid acid free backing to protect the painting. The sleeve is plastic yes, one of my few concessions. But they are Acid and Lignin Free, with 10% Recycled content – it’s important to keep your new art safe.
I put my creativity and beautiful ideas into my artwork, and I try to keep costs down and be environmentally friendly when it comes to everything else. Storing the excess materials and making things “fit” and taking the time to make sure your product is safe – all of that takes a bit of time and effort on my part, but I think you’re worth it.
Paper shopping bags of 100% recycled content and reusable cloth totes for larger paintings. All with a unique hand painted thank you card tied with a colourful bit of embroidery string to make it special. The bags are stamped – not a sticker in sight.
Slowly and carefully – the pitfalls of calls for art
One of my goals for 2024 is to get additional gallery representation – not the easiest task in the world, and I am readying myself for rounds of rejections.
Still – in order to spend more time making art, and to be able to afford to do it to begin with, I need to find people who can help me sell it. So in January, I entered 5 calls for art (for specific exhibitions – not gallery “representation”). 1 was real world, 4 online/virtual exhibitions:
Argyle Fine Art – a gallery about 5 hours from me in Halifax. The call for art for their annual Pre-Shrunk show. 2 of the 5 pieces I entered were accepted – wish it could have been all 5, but I’m new and unknown to them, so I was happy with that.
Viali Art Competition (online) – unusual, as they decided they did not receive enough entries to make the competition “real” – that is awarding prizes when there are very few entries is not any kind of acknowledgement that is worthwhile. They’ve refunded (most of) my entry fee – respect for that and for trying to advance Canadian artists (even if apparently too many of us are too lazy/cheap/ambitious enough to try)
Artstonish Magazine (online and print) – flat out rejection. Entry was free (paid if selected) so I can only imagine the competition for this was fierce.
Valentine – Gallerium Magazine (online only) – Accepted my painting “Love affair” (of course, Valentine’s Day theme and all that).
I got what I feel to be an acceptable level of acceptance vs rejection from these calls – the “real world” acceptance was the most important to me. I’m hoping that in spite of the fact that these 2 pieces have not sold (yet), the gallery might consider representing me in the future. OR, give me advice / guidance on next steps.
The last, for which my work was accepted, is slightly suspicious. You see, I’ve since received an excessive number of invitations to enter from them that I feel it can’t be real. Of course they are happy to take my $40USD each time I enter one of their calls – it’s a fabulous way to make money. I think these guys (Gallerium/Biafarin) are slipping into the realm of vanity galleries. Yes sure it gets my work online, but that’s easy. There are 49 artworks from 49 artists, and the claimed number of unique visits is … 4,949. Which doesn’t seem to be changing. So I think I have fallen prey to this one. It wasn’t a large investment of course, not like some vanity galleries which ask for hundreds of dollars in fees for the “opportunity”, but still – so many invitations – seems odd. I also note that neither of these entities is promoting the exhibition in any way! All they are doing is promoting more and more “opportunities”. The traffic online to this show is virtually nil.
SO there’s the lesson – do a bit more research before entering any calls for art. I came across this call on the Café site (callforentry.org) and trusted that it was a real call. Turns out that was a mistake. Overall my experience with these calls has been positive, so I will slowly and carefully research each call. I’m also trialling out the “Pilot Art List” – which for a small monthly fee sends out researched Canadian and US calls for art. It was recommended by an art consultant on Instagram as “legit”, so we’ll see how that goes. (She also seems “legit” btw… but it’s so easy to “seem” something online isn’t it?) Anyway, 8 months of that list delivered to me is the equivalent of 1 shady call for art – seems a bargain.
Anyway, after a brief hiatus from the studio I shall venture back there today. The first thing I need to tackle is cleaning and organising, then hopefully get messy with some new paintings – I’m feeling a winter landscape coming on.
