"I like that. Can you do me one?"
"Sure what do you want?"
"I don't know but it needs to match the decor!"
"Ok what colours ?"
"Aquamarine, Chocolate Brown, Copper, White, something along those lines....."
"OK do you have theme or structure or vision in your mind?"
"Not really something like you did before. I mean that makes it easier doesn't it?
Creating an abstract is easy, isnt it? Its not like producing a real painting, you can just put some colours on the canvas and do what you want, can't you?"
That was roughly how the conversation went and, it got me thinking about how and why I started with abstracts, and how other aspiring artists approach them.
Displayed on the gallery wall below is a sample painting that the client has graciously permitted me to discuss and exhibit. It required two days and multiple tries to create this piece and it will serve as a preliminary version for the much larger final painting. I have increasingly adopted this method for abstract commissions as I've noticed that individuals often have preconceived notions about what an abstract piece should entail. By presenting a sample board and eliciting both positive and negative emotions from the client, I can better align with their vision of what their abstract artwork should encompass.
In the previous sentence, I used elements that, for me, describe the reactions that art evokes. Emotional responses, both positive and negative on the same piece, demonstrate how subjective art is. Art that lacks a direct connection to realism can trigger intense emotional reactions. Is this what abstract art is about? Is it something that deviates from realism, provoking strong positive and negative emotions? Or is it art that starts from realism but then diverges into the artist's imagination, disregarding conventional norms and teachings?
Is what you see below the final work? Definitely not but we are a lot closer than when we started.
We have agreed the title at least, "AquaMarine"
As mentioned earlier, the conversation I initiated at the start is representative of my recent commissions. Being a non-professional artist without any formal training, I find that not having strict guidelines can be advantageous when creating abstract art. While some may disagree, I appreciate the freedom of not being bound by rules dictating what constitutes good or bad abstract art. Although my work may not receive as much recognition from the art world, I am indifferent to that aspect as this started as a retirement hobby that has now evolved into a passion. The fact that my work seems to resonate with others indicates that I am on the right track, prompting me to share this anecdote. If you are exploring the concept of what defines a good abstract piece, I hope my insights prove to be valuable.
My Google search on the subject began with the question of what defines an abstract and what distinguishes a good one. According to the results, a good abstract should convey a message, embody a concept, and maintain balance. However, the more I delved into it, the more it appeared as a convoluted mix of various elements such as size, balance, and tone, which seemed like artistic jargon to me. I adhere to the belief that "if it looks right, it is right."
While I have a profound love for art and enjoy studying the works of renowned artists, the subjectivity of art poses a challenge. The saying "One man's meat is another man's poison" encapsulates this reality.
So, how does one create an abstract that resonates with everyone? This is a common starting point for many, and there are fundamental principles of composition and scale that we may subconsciously grasp.
As someone with a scientific and business background, I often find myself leaning towards the analytical left brain, which is considered less conducive to creativity. Despite producing some subpar abstract works, my online gallery showcases a selection of recent commissions. Although I am not compelled to sell my art, clients who have commissioned pieces after seeing them displayed often encourage me to do so. The subjective nature of art becomes apparent as not everyone appreciates the same pieces.
Quoting one of my favorite artists, Adrian Hill, who once remarked, "Painting is a very human pursuit which can at times produce violent reactions of discomfort, vexation, and frustration."
Regarding the rules of creating abstract art, the rejection of realism, perspective, and formal teachings by artists in history suggests that the creative process is entirely individual, devoid of strict guidelines. I refrain from imposing any directives on others, as the essence of abstract art lies in the freedom of expression. Transitioning away from realism allows for the manifestation of pure art, but it often involves numerous trial and errors before developing a personal approach to abstract creation.
During a recent dinner party, I encountered a fellow artist who exhibited a lack of confidence in her commendable work, including her abstract pieces shown on her phone. She shared her struggles with starting and completing artworks, sometimes taking months to achieve satisfaction.
Our conversation eventually led to the discussion of inspirations, where I presented my painting titled "Paris Burining," dedicated to a well-known Shakespearean actor and close family friend.
"How did you conceive that?" she said, and where did the idea come from? I showed her the original sample piece that Jamie and I had produced together on an old canvas while developing the concept. I realized that by working together, I was able to draw out a theme that he would be happy with. Not originally intended, the development continued through the final painting as a certain lady decided that it needed to match the bedroom decor.
Thanks, Charlotte :-)
The final artwork in situ.
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