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Observing a work of art

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"Art is the translator that the soul uses to communicate with the material world" 

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The freedom of creative expression and plastic experimentation drive the evolution of the visual arts, allowing artists to create unique works that engage with society and immortalize a moment in history. Today we have an unprecedented range of artistic offerings; museums, galleries, and art fairs present an overwhelming diversity of styles, ranging from the deepest abstraction to the most meticulous hyperrealism.

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In this context, each person holds a distinct worldview and a personal approach to aesthetic appreciation. This can lead us to oversimplify our engagement with art based on personal taste — dismissing a work as bad or ugly simply because it does not speak to our own standards, thereby limiting ourselves and missing the opportunity to fully experience this moment in art history.

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To avoid this and allow art to fulfill some of its purposes, we should try to adopt a more objective perspective, as far as possible, by employing a different approach. Drawing on observation as a cognitive process that occurs through perception and the senses, we can formulate questions, develop interpretations, and build critical arguments.

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1. First-moment observation:

Look at the work of art in its full dimension: what is the first thing that draws your attention? This initial impression will be stored in memory and revisited at the end of the observation process.

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2. Observation of structural elements:

Here we examine the object: what is it? Is it a sculpture, painting, print, photograph, installation, etc.? What physical characteristics does it have? Consider form, dimensions, support (canvas, linen, wood, paper), materials used (acrylic, oil, watercolor, inks), and the technique employed (encaustic, mixed media, collage, etc.).

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3. Observation of aesthetic elements:

Next we should attempt to delve into the handling of technique: the intensity of the brushstroke, marks made with first intention or based on sketches, the variation and use of color, light, and texture (roughness, smooth finishes, forms), as well as the composition (the arrangement of elements within the work) and its subject matter.

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4. Observation of the relationship between aesthetic and structural elements:

This stage addresses several questions: what does the artist use and how do they use it? How does the narrative relate to the structural elements such as format, materials, etc.? Is there balance? Is there intention?

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5. Observation of historical and artistic context:

At this point we should seek to understand more about the work and its creator: when was the work made, and what was happening in the world at the time? How would the artist be classified within their historical and social framework? Within which movement, current, school, or genre do they belong — figuration, abstraction, hyperrealism, magical realism, expressionism, landscape, etc.? What are the biographical and artistic backgrounds of the author? This allows us to identify their influences — political, humanistic, social, philosophical, artistic, and stylistic — which in turn allows us to draw meaningful connections.

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6. Observation of the artist through the work:

At this stage we can begin to analyze the creator and understand their capacity to bring all elements together into a coherent whole: their mastery of technique and the tools employed, their individual contributions in relation to their style (what distinguishes them from other artists in their genre), the presence of the artist within the work, imitations of their work, their achievements, contradictions, complexities, and simplicities.

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7. Observation of our own experience before the work:

What do we feel? What sensations does it provoke? What emotions, ideas, or attitudes does the work appeal to, or seek to provoke — pleasure, aversion, repulsion, sadness, joy, reflection, longing, etc.?

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8. Observation of the information the work conveys:

A work of art may communicate something, contribute knowledge: what does it say? How does it say it — through metaphor? Through the obvious? Or does it simply communicate nothing at all?

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9. Isolated observation:

Here we attempt to separate the object from its surroundings — from curatorial contributions, exhibition space, and marketing — in order to observe the work on the basis of the object's fundamental characteristics alone, and to understand how external elements influence or shape our perception of it.

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The growing accessibility of the art world has created an increasingly complex environment that requires study — but above all, a willingness to look beyond an image-per-second culture, and to immerse ourselves in a conscious process of empathy in order to truly appreciate art.

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Helio Pareja Amador