Why Abstract Art Is the Smartest Thing You Can Put on Your Wall
What Do You See?
How Abstract Art Gives the Mind Room to Breathe
Walk into a gallery. Stop in front of an abstract painting. At first glance, it’s just shapes. Colour. Texture. Nothing recognisable. But something shifts. You look a little longer. And suddenly, your mind starts to fill in the blanks — a memory, a mood, a story that wasn't there a second ago.
That’s the power of abstraction. And according to neuroscience, it’s doing more than just looking pretty on a wall — it’s changing the way your brain works in real time.
What Happens in Your Brain When You View Abstract Art?
Studies show that abstract art triggers a different kind of neural engagement than figurative work. Instead of relying on your brain’s object-recognition systems (what's known as bottom-up processing), abstract images engage top-down processing — the part of your brain that interprets, imagines, and assigns meaning.
This shift activates the prefrontal cortex and the default mode network, areas linked to self-reflection, memory, and emotional regulation. In short, abstract art encourages your brain to slow down and think creatively. It stops looking for “what it is” and starts asking “what could it be?”
One study from the Proceedings of the National Academy of Sciences (PNAS) found that abstract paintings elicit uniquely personal reactions, because they bypass the need to "decode" a specific narrative or object. Viewers were more likely to feel contemplative or emotionally moved — not despite the lack of a clear subject, but because of it.
The Rorschach Parallel
This cognitive opening mirrors something else: the Rorschach inkblot test. Developed in the 1920s by Swiss psychologist Hermann Rorschach, the test presents a series of ambiguous inkblot images. The participant is asked, “What do you see?”
It’s not a trick question. The value lies in the answer.
What someone sees in a Rorschach blot isn’t about right or wrong — it’s about projection. It reveals how a person interprets, imagines, and even protects themselves from emotion. In trauma therapy, the test has been used to gauge emotional resilience, dissociation, and the way the mind organizes experience under pressure.
Abstract art operates in a similar way. Like a Rorschach image, it offers no clear narrative. Instead, it creates a visual pause — a space where the mind can explore, wander, and even heal.
Art as Emotional Architecture
In a world saturated with information and demands for instant meaning, abstract art resists easy answers. It slows the viewer down. It creates an environment for what psychologists call psychological distancing — the ability to take a step back and consider your feelings or problems from a more detached, reflective perspective.
It’s this same distancing effect that gives abstract art its therapeutic potential. It doesn’t tell you how to feel. It lets you decide. For some, that freedom is unsettling. For others, it’s exactly the space they need to process thoughts they didn’t realise were waiting.
Why This Matters Now
In a cultural moment defined by overstimulation and speed, abstract art has a surprising relevance. It asks for nothing — but offers a lot. It gives the brain permission to wander. It helps us develop emotional intelligence. And, like the Rorschach, it quietly reveals the internal landscapes we often overlook.
So the next time you find yourself in front of something weird, wordless, and wonderful — don’t rush it. Let the silence do its work. Your brain already knows what to do.
Artist: Trevor Bell
Artwork: Tide Race
Year: 1995
Medium: Oil on canvas
Artwork Size: 108 × 149 cm
Tide Race, painted in 1995, reflects Trevor Bell’s enduring fascination with the power, movement and atmosphere of the natural world.
Bell’s relationship with the landscape was central to his practice, particularly the dramatic coastline and changing conditions of Cornwall. Rather than depicting a specific view, he translated the experience of landscape into abstraction, using colour, gesture and form to convey its energy and physical presence.
In Tide Race, the title evokes the powerful movement created when tidal currents meet, suggesting speed, turbulence and shifting water. Bell transforms these sensations into a dynamic abstract composition, allowing movement to be experienced through the interaction of colour and form across the canvas.
Painted in oil on canvas and measuring 108 × 149 cm, Tide Race is a strong example of Bell’s mature practice and his ability to transform the forces and rhythms of the landscape into expressive abstraction.
Artist - Alan Davie (Scottish, 1920–2014)
Artwork Title - Cosmographie Structures No.9
Year - 1993
Medium - Paintings / Oil on Canvas
Dimensions - 96cm. x 76cm.
Artist - Alan Davie (Scottish, 1920–2014)
Artwork Title - Starlight Dance
Year - 2001
Medium - Paintings / Oil on Canvas
Dimensions - 101cm. x 121cm.
Artist - Alan Davie (Scottish, 1920–2014)
Artwork Title - Whitch Wall No.1
Year - 1970
Medium - Works on paper / Gouache on Paper
Dimensions - 78cm. x 99cm.
Artist - William Gear (Scottish, 1915–1997)
Artwork Title - Untitled
Year - 1994
Medium - Works on paper / Mixed Media on Paper
Dimensions - 41cm. x 30cm.
Artist - William Gear (Scottish, 1915–1997)
Artwork Title - Spiked Summer
Year - 1985
Medium - Works on paper / Mixed media on paper
Dimensions - 33in. x 29in.
Artist - William Gear (Scottish, 1915–1997)
Artwork Title - Green / Red
Year - 1994
Medium - Works on paper / Mixed Media on Paper
Dimensions - 29.5cm. x 21cm.
Artist: Trevor Bell
Artwork: Untitled
Year: 1960
Medium: Oil on paper
Artwork Size: 90 × 61 cm
Untitled, created in 1960, belongs to an important early period in Trevor Bell’s career and reflects the development of the bold abstract language that would come to define his work.
By this time, Bell was closely associated with the artistic community of St Ives, where the dramatic Cornish landscape and the work of the artists surrounding him had a profound influence on his approach. Rather than representing landscape literally, Bell explored its underlying rhythms and sensations through colour, shape and expressive gesture.
Executed in oil on paper, this work demonstrates Bell’s early interest in the relationship between form, movement and space. The immediacy of the medium gives the composition an energetic quality, while the absence of a descriptive title allows the forms themselves to remain the focus.
Created in 1960 and measuring 90 × 61 cm, Untitled offers an insight into a formative period of Bell’s practice, as he developed the expressive approach to abstraction and landscape that would remain central to his work throughout his career.
Artist - William Gear (Scottish, 1915–1997)
Artwork Title - Winter Melody
Year. - 1977
Medium - Paintings / Oil on Canvas
Dimensions - 60in. x 40in.
Artist - William Gear (Scottish, 1915–1997)
Artwork Title - triple vertical
Year - 1986
Medium - Paintings / Oil on Canvas
Dimensions - 152cm. x 91cm.
Artist - Paul Jenkins (British, 1949)
Artwork Title - Ink on Paper
Year - 1994
Medium - Works on paper / Ink on Paper
Dimensions - 73cm. x 43cm.
Artist - John Hoyland (British, 1934–2011)
Artwork Title - Genie
Year - 1988
Medium - Paintings / Acrylic on Cotton duck
Dimensions - 101.6cm. x 76.2cm.
Artist – Alan Davie
Artwork Title – Come Awa Ben
Year – 2010
Medium – Paintings / Oil on Canvas
Dimensions – 96cm. x 76cm.
Framing – (Framed)
Artist: Alan Davie
Artwork: Ideas for a Shamans Wall No.4 (1993)
Edition: Original
Size: 76.2 x 96.52cm
Material: Oil on canvas
Framing: Framed
Artist: John Hoyland
Artwork: Nature Boy
Year: 2007
Edition: Original
Size: 51 x 61 cm
Material: Acrylic on Canvas
Framing: Framed
Artist: Trevor Bell
Artwork: Untitled
Year: 20th Century
Medium: Mixed media on board
Artwork Size: 72.1 × 72.4 cm
Untitled reflects Trevor Bell’s distinctive approach to abstraction, bringing together colour, form, texture and material to create a composition with a strong physical presence.
Throughout his career, Bell explored the relationship between abstraction and the natural world. His experiences of the Cornish landscape, its dramatic coastline, changing light and elemental forces became an important influence, which he translated into a visual language based on shape, movement and colour rather than direct representation.
In this mixed media work, the use of board and varied materials adds a tactile, constructed quality to the composition. Bell allows forms to interact across the surface, creating a sense of movement and spatial tension while leaving the work open to interpretation.
Measuring approximately 72.1 × 72.4 cm, Untitled demonstrates Bell’s continuing experimentation with material, structure and abstraction.
Artist: Alan Davie
Artwork: Mystic Sacrifice
Year : 1998
Edition: Original
Size: 109 x 89 cm
Material: Oil on Canvas
Framing: Framed
Artist: Alan Davie
Artwork: Mimi Spirit Runs (2002)
Edition: Original
Size: 27.94 x 30.48cm
Material: Oil on canvas
Framing: Framed
Artist: Alan Davie
Artwork: Magical Transformation of Moonlight (1998)
Edition: Original
Size: 76 x 96 cm
Material: Oil on canvas
Framing: Framed
Artwork Title – Magic Village No. 2
Year – 1993
Medium – Oil on Canvas
Dimensions – 76.2 x 96.5 cm
Artwork Title – Magic Picture No. 66
Year – 1977
Medium – Oil on Canvas
Dimensions – 76.2 x 101.6 cm


Artist - Paul Jenkins (British, 1949)
Artwork Title - Ink on Paper
Medium - Works on paper / Ink on Paper
Dimensions - 73cm. x 43cm.