I am very proud of this artwork. I managed to express myself completely through all the shapes and colors. I love how the design looks on products. In my personal opinion this artwork is just great, love the result. Art brings me a lot of satisfaction. The original painting is made on paper with acrylic, gouache, markers, tempera, pen, and markers. It took me one evening to paint it. I love it! The process of painting was very calming. The color composition is very balanced. The artwork looks fresh, joyful, and very inspiring. I hope you like it too :))) Psychedelic subconscious intuitive doodle art by Veera Zukova, original abstract paintings directly from the artist. I decided to take plain paper and start working on it. Usually, I paint on stretched canvas, but I decided to enjoy the process completely this time. It was not only about the painting, the main idea was to enjoy the evening while watching my favorite series and doing some colorful doodling. I had no idea that works on paper would turn out so beautiful, I am shocked. It was a small challenge since I have had a significant depression due to my aggressive boss, so while sitting at home and watching my diet (I gained weight during the depression) I struggled with my art a lot and now finally I have found a way to let it out again. This is the result of psychological struggle, prayers, depressive mood, and will to survive. I am glad I did it. I do not like to reveal my process pictures since I have my own unique style and the painting process for me is a very private thing. I can describe how I did it. White paper, acrylic color spread with plastic card, dry, tape the paper with some ASMR thickening under and fully relax, catching the inspiration, adding tiny details, expressing myself through my subconscious colorful fantasy. I relax while painting. From the beginning till the end, my main point is to enjoy myself, I concentrate only on my mood. I never use any certain rules, everything is intuitive. I have a naturally good eye for colors. I can feel the material. The only thing I need to paint - is to be happy, and it is the hardest thing to achieve. I can not wait how these artworks will look like products on Redbubble :))) Thank you very much for reading my post, I really appreciate it. If you would like to see more of my art, you are welcome to visit my page. https://linktr.ee/veerazukova I like to add my artwork to my Redbubble shop :) My art is very colorful and looks great on products. Welcome to my shop. The original painting is done on paper with acrylics, gouache, marker, pen, and tempera. My artwork can only be used as a home decoration. In my Redbubble shop, you will find over 260 different products with my art as a design. Redbubble products are a great alternative to traditional painting and are much more affordable. Please visit my link if you would like to see more. Why does abstract art appeal? Often considered to be a visual language of shape, color, and form, there is something very particular in the attraction to an abstract work of art. Several theories exist which aim to explain the psychology behind the spectator’s enjoyment, and the artist’s creation, of abstract art. The effects of trauma on artists can often be observed in a noticeable shift towards abstraction: famously, Willem de Kooning continued to paint after developing Alzheimer’s disease, after which his style became increasingly abstract. The example of de Kooning, and many others like him, demonstrates that art can provide insight into the changes in the human brain that alter expression and perception. In the following report, we will address some of the psychological theories attached to abstract art. Neuroaesthetics: Introducing Scientific Objectivity to the Study of Art During the 1990s, vision neuroscientist Semir Zeki of University College London founded the discipline known as neuroaesthetics which examines, from a neurological basis, the relative success of different artistic techniques. Several scientific studies looking into the reasoning behind an attraction to abstract work have concluded that studying this genre of art stimulates very active neural activity as the spectator struggles to identify familiar shapes, thus rendering the work ‘powerful’. Seeing the work as a puzzle, the brain is pleased when it manages to ‘solve’ this problem (Pepperell, Ishai). One particular study, led by Angelina Hawley-Dolan of Boston College, Massachusetts (Psychological Science, volume 22, page 435), questioned whether abstract art, created by professional artists, would be as pleasing to the eye as a group of random lines and colors made by children or animals. Hawley-Donan asked volunteers to look at one painting by a famous abstract artist, and one by an amateur, child, chimp, or elephant, without prior knowledge of which was which. The volunteers generally preferred the work by professional artists, even when the label told them that it was created by a chimp. The study concluded, therefore, that when looking at a work, we are capable – although we cannot say why – of sensing the artist’s vision. Hawley-Dolan’s study followed the findings that the blurry images of Impressionist art stimulate the brain’s amygdala, which plays a central role in feelings and emotions. However abstract art, which often seeks to remove any interpretable element, does not fall into this category. Taking inspiration from this study, Kat Austen in New Scientist (July 14th, 2012), interrogates the appeal of abstract art, inspired by the effect of viewing a work by Jackson Pollock, Summertime: Number 9A which, she writes, was the first time a work of abstract art had stirred her emotions. Austen raises the hypothesis that works of abstract art which seemingly contain no recognizable object for the brain – namely Rothko, Pollock, and Mondrian – may have an effect through well-balanced compositions as they appeal to, or ‘hijack’, the brain’s visual system. In a study by Oshin Vartanian at the University of Canada, in which the researcher asked volunteers to compare a series of original paintings to one in which the composition had been altered, Vartanian discovered that we have a heightened response to pattern and composition. Almost all the volunteers preferred the original work, even when working with such diverse styles as a still-life by van Gogh and Bleu I by Miró. The findings suggested that the viewer is inherently aware of the spatial intention behind the paintings’ particular compositions. Let us now go back to around a century ago, to one of the leaders of German Expressionism, known for his role as a synaesthetic artist: Kandinsky played a central role in early 20th-century theories about the psychology behind abstract art. His book ‘On the Spiritual in Art’, published in 1911, came to be known as the foundation text of abstract painting and explored in great detail the emotional properties of shape, line, and color. Kandinsky’s synaesthesia manifested itself in his abnormal sensitivity to color and his ability not only to see but also to hear it. Because of this, he reasoned that a painting should evade intellectual analysis, and instead be allowed to reach the parts of the brain connected with the processing of music. Kandinsky believed that color and form were the two basic means by which an artist could achieve spiritual harmony in composition and he thus separated the creation and perception of art into two categories: internal and external necessity. Making reference to Cézanne, Kandinsky suggested that the artist created the juxtaposition of linear and colorist forms to create harmony, a principle of contrast that Kandinsky wagered was the "most important principle in art at all times". We can apply one of Kandinsky’s principles, as discussed in this academic work, to Jackson Pollock’s artistic practice, whereby he placed canvasses on the floor and dripped paint on them from high. For Kandinsky, the artist must not adhere to the rules of art and must be free to express themselves by whatever means possible: an essential factor for internal necessity. According to Edward Lavine, painting, for Pollock, "becomes an experience [in] which the work has demands of its own which exist independently from the personality of the painter. These demands often seem to require the giving up of personal choice in favor of the inner necessity of the work." (Mythical overtones in the work of Jackson Pollock) To some extent, this theory contradicts that of Forsythe and others mentioned, as it implies the artist has limited choice in the creation of the work. Nonetheless, it does demonstrate the power of the process of creating abstract art.