Abstract art isn't just a combination of vivid useless motifs and irrelavent shapes.
There is certainly, I feel, a concrete restorative worth to be seen in the majority of the enigmatic marks made by the very different patterns available these days. What appears to be the much more essential choice to make is really a very attentive consideration of the particular niche in combination with the choosing of the most ideal fine art. This isn't something to be taken lightly or rather quickly. This would cover anyone inside the wide spectrum of separate audiences: a quite busy boardroom workspace or a single office environment or place where fast thinking, quick reactions, and important choice making is required; or possibly a woodworker who returns from a hard days toil merely needing to be aesthetically massaged by an effortlessly recognized enigma; or merely the spot where the anxious and usually misinterpreted person who is slowly but surely shedding their tentative hold on the impression of facts. There's a great variety of prospects.
Below are various suggested interactions from 1 artists standpoint:
Colour combination plays an evident treating and therapeutic role being discovered in a conscientiously elected constructed piece, so color field work, that's evolving in global recognition, initially considered by artists including Mark Rothko and Ellsworth Kelly with their tremendous spots of empty coloration space, might increase a general ambiance of peace and quiet to an otherwise boisterous and busy habitat. With there unquestionably very few distinctions within this kind of large image a peaceful perception of immersion into subjective stillness has the capability to prevent any fretful or irregular reasoning, and even lend a hand with the adrenal task of a revolutionary heart.
Long designs or patterns by the likes of Jackson Pollock, Peter Lanyon, and Howard Hodgkin (once more, comparable works empowered by these extremely different abstract layouts could be seen in many displays, suppliers and galleries and museums), reveal a extremely beneficial affiliation, and maybe convince a spirit, full with irrational thoughts to temporarily stop, simply take in the noticeable spontenaiety, and then take a different direction. Hodgkin's style works in particular, could be seen as dilemna like canvases, in which the viewer doesn't have a real point of reference so is free to "start" any where in the scene. And because there are very few determined places, at times the onlooker inevitably finds themselves either regarding the element with little feeling, and as a result can unreservedly make a comment - affirmative or not.
Let's not refute, however, the reality that many an image that has the potential to trigger a negative reaction can also be of fantastic worth to the viewer who may really experience some benefits from viewing such a demanding image that carries such a poor association. Better there on the wall compared to here within the mind. With this scenario the standard associations of reddish colored for blood and grave danger, black for loss of life and sin, brown for rot and disease, as well as stunning lines and movements found in a piece of art are mutually useful stimuli if exposed within the best suited setting. This returns to my point made at the opening - as you are choosing a picture, extremely careful consideration must be taken to be able to find that one thing of beauty which articulates straight to the extremely deepest parts of the observer.