Abstract art is not just a mixture of colourful meaningless patterns and arbitrary shapes.

There is, I believe, a definite therapeutic value to be found in most of the enigmatic marks featured by the very different styles available today. What appears to be the most important decision to make hinges on 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 following wide spectrum of alternatives: a busy boardroom environment … a single office or room where quick thinking, fast reactions, and serious decision making is required … a worker who returns from a hard days work, simply wanting to be visually massaged by an easily observed enigma; … or even the space in which the desperate and mostly misunderstood person is gradually losing a tentative hold on the sense of reality.

There is a tremendous variety of possibilities to consider.

Here are some suggested associations from one artist's point of view: Colour plays an obvious healing and therapeutic role to be found in a carefully selected crafted piece. Colour-field work is growing in popularity, and was first conceived by artists like Mark Rothko and Ellsworth Kelly with their vast areas of empty colour space. This might add a general feeling of peace and quiet to an otherwise noisy and hectic environment. 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 person.

Indefinite shapes or patterns such as those of Jackson Pollock, Peter Lanyon, and Howard Hodgkin show a very positive association (similar works inspired by these very different abstract styles can be seen in many exhibitions, shops and galleries) These may perhaps persuade a mind filled with illogical thoughts to pause, simply take in the apparent spontaneity, and then take a different direction. Hodgkin paintings in particular can be seen as puzzle-like canvases in which the observer has no real point of reference so is free to "start" anywhere upon the picture.

Because sometimes there are very few defined areas, observers inevitably find themselves regarding the piece with little emotion, and therefore can freely make a comment - positive or otherwise.

Let us not deny, however, the fact that many an image that has the potential to provoke a negative response can nonetheless be of great value to those observers who might actually benefit from seeing such a challenging picture that features 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, when found in a painting, are equally valuable stimuli … - 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 work of art which speaks directly to the very deepest parts of the observer.

Bylines:
About The Author: Tim Seaward is the author of "Abstract Art as Therapy". He is also a practicing fine artist living and working in the UK. Visit his site to find out exactly what he paints. http://www.ablot.com or mailto:tim[at]ablot.com
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While I write some more I would very much value your comments and observations - whether positive ... or, perhaps, vehemently negative ... so, if you would like to make any comment then please use my contact page by clicking HERE

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