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A newly published study shows that simply viewing original artworks can deliver measurable health benefits: lowering stress hormones, activating immune and hormonal systems, and stimulating the body in ways previously un-documented. Fifty participants were recruited for the research, which compared their responses when viewing original paintings by masters such as Vincent van Gogh, Paul Gauguin, Édouard Manet and Henri de Toulouse‑Lautrec inside the historic Courtauld Gallery in London, versus viewing high-quality reproductions outside the gallery. The two standout works included Manet’s A Bar at the Folies-Bergère (1882) and van Gogh’s Self-Portrait with Bandaged Ear (1889). (Artnet News) While in the gallery, participants wore digital monitors tracking heart rate and skin temperature, and provided saliva samples to measure cortisol and inflammatory markers (such as IL-6 and TNF-α). (Artnet News) Key results:
The project was commissioned by Art Fund (the UK’s national museum-and-gallery charity) together with the Psychiatry Research Trust, and carried out by King’s College London. They titled it The Physiological Impact of Viewing Original Artworks vs. Reprints: A Comparative Study (2025). (Artnet News) One of the lead researchers, Tony Woods, remarked that they were “genuinely surprised” to see evidence of the simultaneous activation of immune, endocrine and autonomic systems. (Artnet News) In a statement, Jenny Waldman from the Art Fund said: “This study proves for the first time what we’ve long felt at Art Fund — that art really is good for you. What’s particularly exciting is that the findings show these benefits are universal — they can be experienced by anyone.” (Artnet News) The Art Fund hopes this research will encourage more people to use its National Art Pass, which offers free or discounted access to hundreds of museums, galleries and historic houses across the UK. (Artnet News)  Here are the key implications of the Art Fund study showing that viewing original artworks is good for your health: 1. Art isn’t just “good for the soul” — it’s clinically beneficial The study provides physiological evidence that art-viewing isn’t just an emotional or cultural experience — it measurably affects the body. Reductions in cortisol and inflammation markers suggest that art exposure could actively improve physical health. 2. Original artworks have unique power Participants viewing originals experienced far stronger benefits than those viewing reproductions. This implies there’s something about authentic presence, scale, texture, and aura that digital or printed versions can’t replicate — reinforcing the value of physical gallery visits. 3. Art activates multiple body systems simultaneously The research found simultaneous changes in the autonomic nervous system, endocrine system, and immune system. This suggests art doesn’t just calm people — it creates a complex, whole-body resonance similar to meditation or nature exposure. 4. Potential for healthcare and well-being programs These findings could justify prescribing museum visits or integrating art-viewing into therapeutic programs for anxiety, depression, and chronic stress — similar to “green prescriptions” for time in nature. 5. Implications for public health policy Health ministries and hospital systems might view art access as a low-cost preventive health measure. Museums and galleries could strengthen funding cases by positioning themselves as community well-being assets, not just cultural institutions. 6. Accessibility and social inclusion If art genuinely improves well-being, there’s a strong argument for making galleries more accessible — through free entry, community passes, and outreach to under-served groups. Art, in this sense, becomes a form of public medicine. 7. Evidence base for arts funding The study gives arts organizations solid scientific data to support funding bids. They can now argue that art provides health outcomes, not just aesthetic or educational ones. Rewritten from an article from Artnet News titled “Looking at a Van Gogh Is Good for Your Health, New Study Reveals” (October 28, 2025).
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 We live in a time where the rise of artificial intelligence has challenged the way we think about creativity. AI art generators can produce images at breathtaking speed, often mimicking styles that artists have spent years refining. It is tempting to believe that this signals a new era where machines dominate the creative space. Yet I am convinced that the trend of AI art will not last in the way some predict. When the novelty fades, people will rediscover what truly matters: human connection.
Abstract art in particular thrives on this connection. Unlike representational art, which shows us something familiar, abstraction takes us into an emotional and interpretive space. It is art that asks us to feel, to reflect, and to search for meaning. No algorithm, however advanced, can replicate the lived experiences, emotions and subtle imperfections that give human-created abstract work its power. I believe we will eventually see a strong cultural shift towards valuing what is real. In a future saturated with digital simulations and machine-generated aesthetics, authenticity will become a rare and treasured quality. Perhaps we will even see the introduction of a "human authentication" stamp, a seal that validates a piece as the product of genuine human effort, thought and emotion. Such a mark would not only distinguish human art from AI but would also stand as a reminder of the irreplaceable value of human creativity. Looking further ahead, I see a world where human-created abstract art becomes more deeply intertwined with wellbeing. As society becomes more aware of the mental and emotional challenges of the digital age, art that resonates on a human level will be sought as a grounding force. Abstract works, with their open forms and emotional resonance, will become part of how we reconnect with ourselves and each other. We may also witness a change in how art is collected and experienced. Rather than pursuing endless streams of cheap, machine-made imagery, collectors and audiences will gravitate toward unique, human stories. The provenance of a work will matter more than ever. Who made it, why it was created, and what emotional truth it holds will be the deciding factors. The future of art is not about competing with AI on speed or volume. It is about leaning into what makes us human. The brushstroke, the camera movement, the intuition of a moment, the embrace of imperfection — these are qualities that no machine can replicate. As AI fills our world with surface-level images, abstract art will endure as a space for depth, mystery and genuine human expression. In the end, the future of abstract art will be a return to the fundamentals: creativity, emotion and connection. Technology may shift the landscape, but the heartbeat of art will remain human.  I have just returned from Art in the Park at Eden Park, and I am still buzzing. This year was wildly successful – in fact, I sold out of all my works. That result is, of course, gratifying on a personal level, but what really stays with me are the people, the conversations, and the energy of the event. The team behind Art in the Park deserve enormous recognition. Cary, Sophia and Linda are the beating heart of this exhibition – smart, energetic, inclusive and fun. They foster a culture of camaraderie that runs right through both the nationwide and regional arts communities. Their commitment has built an environment where artists can thrive and the public can engage in genuine and joyful ways. And none of this would be possible without the leadership of Nick, CEO of Eden Park, whose vision makes it possible for art to fill such an iconic venue. I am deeply grateful to them all. One of the most fascinating things about exhibiting is watching how the public interact with my work. Time and time again people stop, drawn by a sense of mystery, trying to figure out what the medium is. When I tell them that it is photography – photographs of material taken with a slow shutter speed – I often see a moment of recoil as they realise their mind has been fooled. Then comes curiosity, and they lean closer, discovering the folds, textures and tiny details of fabric that underpin each image. What follows are the conversations I love most: people sharing what they see, what they feel, and sometimes even a story from their own life that a piece has unlocked. Again and again, I have watched people fall in love with one specific artwork that speaks to them, and these moments are the true reward for me.
The fiscal outcome of selling out my works is valuable, but it is the human connections and cultural enrichment that matter most. And that leads me to a national issue that I cannot ignore – the proposed removal of Art History from the New Zealand curriculum.
To cut Art History is to cut away an entire dimension of how we understand ourselves. This subject is not just about names and dates – it is about cultural literacy, empathy and critical thinking. It is about understanding how societies express themselves and how creativity reflects – and shapes – human life. When students are denied access to Art History, they lose an opportunity to see themselves within the sweep of culture, and to recognise their place in the ongoing story of humanity. The decision is not only culturally impoverishing, it is economically short-sighted. My own career as a Graphic Designer, singer and exhibiting artist is a direct result of discovering Art History at school. The arts are a significant contributor to GDP and exports in New Zealand, and the knowledge embedded in art history strengthens that contribution. To diminish it in our education system will reduce both cultural understanding and fiscal benefit to our nation. Art in the Park reminded me again of the hunger that exists for art, for story, for connection. Thousands of people came through Eden Park because they wanted to be part of that. They wanted to be moved, surprised, challenged and delighted. It is proof that art matters, and that cultural knowledge enriches not only individual lives but our collective national identity. So while I celebrate the extraordinary success of this year’s exhibition – and give thanks to Cary, Sophia, Linda and Nick for creating such a brilliant platform – I also raise my voice in protest. We must protect and preserve Art History in our schools. To lose it is to risk raising a generation with narrower horizons and diminished cultural understanding. We owe our future artists, designers, musicians, thinkers and audiences more than that.  The New Zealand Government’s proposal to remove Art History from the education curriculum deeply troubles me. This decision will not only reduce the richness of our humanities education but also diminish our ability as a nation to contribute meaningfully to the global arts conversation. I speak from lived experience. My early education was, frankly, uninspiring. Nothing lit me up until I encountered Art History. That subject unlocked a passion that shaped my entire life and career. Today I work as a Graphic Designer, a profession directly born from my love of the arts. I also sing jazz on the national stage, drawing from a deep knowledge of cultural music history and the American Songbook tradition. Alongside this, I exhibit abstract artworks nationwide, many of which reference historic art pieces fundamental to our shared cultural story. None of this would have been possible without the foundation that Art History provided me. Art History is more than memorising names and dates. It teaches us how cultures speak across time, how ideas evolve, and how creativity reflects – and shapes – society. It is a discipline that fosters critical thinking, empathy, and cultural literacy. Removing it risks encouraging a less dimensional, less informed, and more culturally impoverished generation. Some argue that Art History can simply be absorbed into wider visual arts subjects. But this approach misses the point. Not all students will take visual arts, meaning many who might have discovered a lifelong passion for Art History will never encounter it. For me, it was the standalone subject that changed everything – and I know I’m not alone. As a nation, we pride ourselves on creativity and innovation. Our artists, musicians, writers, and designers contribute to New Zealand’s international identity and influence. To remove Art History is to weaken the very roots from which that creativity grows. I urge the Government to reconsider. Preserving Art History in our schools is not about nostalgia, it is about investing in a richer, more humane, and more culturally aware future for New Zealand. If you share my concern, I urge you to act. Write to your local MP, contact the Minister of Education, and make your voice heard. Share this post, talk to friends and colleagues, and raise awareness about what is at stake. Art History is not a luxury – it is a vital part of how we understand ourselves and our place in the world. Together, we can ensure it remains part of New Zealand’s future.  My personal story reflects the transformative impact of Art History. I experienced a fairly ordinary and uninspiring education until Art History was offered. That subject lit a spark in me which has shaped my entire life. The enrichment it provided has been fundamental to my success. I now work as a Graphic Designer directly because of my love of the Arts. I am also a jazz singer with a deep knowledge of music history, and an exhibiting artist with many shows to my name, using unique systems and processes that grew out of my grounding in Art History.
Absorbing the subject into other visual arts programmes will render Art History inaccessible to many students, as those who do not choose visual arts would otherwise miss it entirely. The Value of New Zealand Art History Knowledge on the World Stage Why it Matters
Projected Value
Intangible Returns
Pathways to Growth
Forecast With strategic investment, New Zealand can expect measurable export and GDP uplifts in the hundreds of millions of NZD within 3–5 years, and potential billion-dollar scale effects by 2030. The nation will also gain significant global influence, stronger cultural partnerships and deeper recognition of mātauranga Māori and Pacific histories. When most people think of photography, they imagine clear windows into reality: portraits, landscapes, snapshots of life as it is. Abstraction, by contrast, often belongs to painting or sculpture - art that distorts, simplifies, or escapes the real. But can photography ever be truly abstract, or does it always remain tied to what was in front of the lens? This question was at the heart of Shape of Light: 100 Years of Photography and Abstract Art, a landmark exhibition at Tate Modern. The show set out to explore the history of abstract photography and its relationship to other art forms, tracing a century of experiments in bending light, shadow, and form. Photography in Dialogue with Abstraction The exhibition paired photographs with abstract paintings and sculptures, revealing striking similarities: spirals, grids, shadows, and rhythmic patterns. These juxtapositions showed how artists across disciplines were chasing the same ideas of balance, form, and motion. At times, however, the connections felt superficial. Simply placing a photograph next to a painting didn’t always explain why abstraction mattered to photography itself. Still, the dialogue raised a crucial point: photography has always been more than a tool for representation. Highlights of Abstract Photography
These highlights demonstrated that photography brings unique tools to abstraction. Unlike painting’s blank canvas, the photographer begins with light, shadow, and time - reshaping them to reveal hidden patterns and structures. The Challenge of Scale Covering a century of work was an ambitious task, and at times the exhibition felt sprawling. Repetition risked dulling the impact, and the show occasionally lost its narrative thread. Yet, despite this, the sheer breadth of works reminded viewers how deeply photography has contributed to the story of abstraction. Abstract Photography Today Even if Shape of Light was uneven, it raised questions that feel more relevant than ever. Abstract photography continues to thrive, from fabric blurred into landscapes to AI-generated distortions of reality. The digital era has expanded its possibilities, proving that photography is not bound to realism. Abstraction in photography isn’t about escaping reality altogether. It’s about discovering new ways to see it - uncovering moods, patterns, and textures hidden in plain sight. Closing Reflection Abstract photography may never replace painting or sculpture in the canon of abstraction, but it has carved out its own essential role. Shape of Light reminded us that the lens doesn’t just record the world; it can transform it. In the end, abstraction isn’t about turning away from the real - it’s about finding beauty in unexpected structures, and reshaping the way we see. - "Shape of Light: 100 years of Photography and Abstract Art" was a 2018 exhibition at Tate Modern that explored the connection between photography and abstraction from the early 20th century to the present, featuring artists like Man Ray and Barbara Kasten, and showcasing how photographers used light and camera techniques to create abstract works. The exhibition featured over 350 works by more than 100 artists, demonstrating innovation and originality through a variety of techniques, from traditional photo-montage to contemporary digital art. Key Aspects of the Exhibition:
Why "Shape of Light"? The title reflects photography's fundamental nature: the capturing and shaping of light. The exhibition explored how photographers manipulated light, the lens, and the photographic material itself to create images that prioritized abstraction and the visual properties of light over literal representation.  A custom-coloured abstract landscape photograph in a corporate office environment Why partnering with creative practitioners leads to powerful, site-specific artwork for commercial interiors.
Incorporating Art Into Commercial Interior Design from the Start In today’s most dynamic corporate interior spaces, art is no longer an afterthought. Increasingly, workplace designers, architects, and design specifiers are turning to creative practitioners early in the design process - not just to decorate, but to shape experience. As an abstract photographer, I work with materials, textures, and motion to create large-scale wall art that evokes place, emotion, and atmosphere. My work sits at the intersection of form and feeling - making it ideal for corporate fit-outs that aim to inspire, calm, energise or reflect brand identity. When you specify bespoke artwork for commercial interiors, you go beyond surface-level styling. You engage in visual storytelling. You build spaces that connect. Why Work with a Creative Practitioner? Too often, art in office design is left to the final stages - selected from stock libraries or generic collections. But when you collaborate with an artist from the outset, you unlock unique opportunities: Custom Artwork for Interior DesignTailored to your material palette, brand narrative, and architectural form, commissioned artwork can be created in the exact dimensions, orientation and colour mood you need. Whether it's for an entryway, boardroom, or open-plan workspace, site-specific photography brings intention to every corner of the space. Large-Scale Wall Art that ResonatesMy abstract photographs often suggest natural forms - water, landscape, mist, textiles - without being literal. This ambiguity invites emotional engagement and personal interpretation. Some viewers see New Zealand’s coastal light; others imagine Californian hills or Scandinavian lakes. In communal corporate environments, this kind of open narrative creates calm, conversation, and curiosity. Design-Led Art IntegrationAs a creative partner, I work directly with specifiers, architects, and interior designers to ensure artwork integrates seamlessly with your spatial vision. We discuss tone, material references, viewing distance, even lighting - so the final result doesn’t just hang on the wall, it becomes part of the architecture. Adding Value Through Collaboration Interior spaces are becoming more human-centric - and art plays a vital role in that shift. From employee wellbeing to brand alignment, the right visual elements influence how a space is perceived and experienced. When art is specified early, it helps define that perception from the ground up. Choosing to work with a local artist also supports sustainable practice, community connection, and authentic storytelling. It shows your clients that their space is not only beautifully designed - but deeply considered. Let’s Create Something Unique for Your Next Project If you're designing a commercial space and looking to incorporate large-scale, custom artwork into your fit-out, I’d love to collaborate. I offer:
Would you like to start a conversation about your next project?  In today’s workplace design, branding is no longer just about logos and fonts - it’s about tone, mood, and emotion. And one of the most effective ways to reinforce brand identity is through the artwork you place in your environment.
More businesses are now turning to colour-customised art - works that align visually with their brand’s palette without being literal. It’s subtle, elevated branding that feels sophisticated rather than promotional. Whether you're designing for a global tech firm or a boutique consultancy, here are five ways to incorporate colour-customised abstract art into your branded interiors - with real-world insights from New Zealand abstract photographer Chris Melville. 1. Echo Brand Colours Without Being Literal Using colour doesn’t mean plastering a logo on the wall. In fact, one of the most refined ways to reflect a brand is through tonal echoes - soft greens, inky blues, warm neutrals, or metallic greys that speak the language of the brand without repeating it. In one recent commission, Chris was asked to create a large-format abstract photograph in the tones of a multinational company’s brand. Rather than designing around logos, he worked with mood and atmosphere, producing a still, flowing piece in the company's navy and sand palette. “I used natural light and layered textiles to create something that felt like their values - grounded, elegant, international.” - Chris Melville 2. Support Interior Colour Schemes Artwork that draws from the existing interior design palette — whether furniture, flooring, or accent walls - instantly creates cohesion. This works beautifully in:
3. Reinforce Brand Values Emotionally Brand colours aren’t just visual - they’re emotional.
When those colours are integrated into large-scale abstract art, they become atmospheric tools. The artwork doesn’t just decorate the space - it reinforces the brand’s emotional tone every day. 4. Create a Signature Visual Identity Across Locations For companies with multiple offices or franchises, consistent branded artwork is a powerful tool for alignment - especially when each piece is unique but shares a visual language. Chris offers series-based commissions, where each artwork is tuned to reflect the same brand mood and palette, but with variations in form and movement. It’s like a visual signature carried across branches. This is ideal for:
5. Offer a Sophisticated Alternative to Stock Imagery Stock skyline photos, inspirational quotes, or overly literal brand walls can make even the most elegant office feel generic. Colour-customised abstract art, on the other hand, is timeless, tasteful, and unique to the business. Because Chris’s work is created using fabric, natural light, and slow shutter techniques, every piece has a handmade, contemplative quality. It’s art that feels personal yet professional. And for businesses wanting something truly special, he offers:
Final Thoughts: Branding Through Beauty Incorporating custom-coloured artwork into your commercial interior doesn’t just enhance the visual appeal - it deepens the sense of identity and care. For architects, designers, and business owners who want to create spaces that reflect both brand and humanity, custom abstract photographic art is a high-impact, low-noise solution. Commission Your Own Colour-Tuned Art Chris Melville creates calming, large-scale photographic artworks for commercial and corporate spaces - and can work with your brand palette to design something unique to your project.  Art isn't just for galleries - it’s a critical ingredient in creating inspiring, functional, and emotionally intelligent workplaces.
Whether you’re designing a corporate headquarters, a co-working space, or a boutique consulting firm’s new reception area, the art you choose will shape how people feel in that space. It can soften, energise, ground, or uplift - sometimes all at once. So how do you choose the right art for an office wall? Here's a designer’s guide to selecting pieces that work practically, emotionally, and aesthetically - with insights from photographer Chris Melville, whose large-scale abstract works are featured in modern interiors across New Zealand. 1. Understand the Role the Art Needs to Play Start with a simple question: what do you want this artwork to do?
Pro Tip: Abstract photography is especially effective when you want to evoke emotion without overwhelming the space with literal imagery. 2. Match the Mood and Energy of the Space Art should feel like it belongs in the room — but also enhance it. For example:
3. Consider Scale - Bigger Is Often BetterOne of the most common mistakes in office art is going too small. A single A2 print will look lost on a 4-metre boardroom wall. Don’t be afraid of large formats - especially with abstract work. The bigger the piece, the more immersive the experience. Ideal sizes for office art:
4. Let Colour Work for You — Subtly Your artwork doesn’t have to shout your brand - but it can whisper it. For example:
5. Prioritise Timelessness Over Trendiness A good office artwork should last for years - maybe decades. That’s why timeless, high-quality abstract work is a smart investment. Avoid trendy motivational quotes or cliché skyline photos. Instead, invest in pieces that:
Final Thoughts: Make Art Part of the Architecture The best office art doesn’t feel like an afterthought. It feels like it belongs. That’s what abstract photographic work - particularly in large scale - can do so well. It becomes a textural and emotional element of the space itself. Ready to Elevate Your Interior Project? Whether you're designing a new workplace, refreshing an office, or curating artwork for a commercial space, Chris Melville's large-scale abstract photography offers both calm and character. Choose from existing images at www.materialworldart.com or commission a colour-customised series for your client’s brand.
When I held my recent art exhibition, something quietly profound unfolded before me. As guests moved through the space, I began to notice how the more abstract works - those untethered from clear landscapes or recognisable forms - sparked the most conversation. Not just about the artworks themselves, but about the places they conjured in memory.
Some visitors saw Coromandel beaches in the layered textures. Others found themselves in the dry contours of Californian hills. Still others spoke of distant Canadian lakes. These interpretations weren’t prompted or suggested - they emerged naturally, uninvited yet welcome. The artworks, in a way, were being completed by the viewer. This is one of the most fascinating aspects of abstract image-making: it invites personal narrative. Without the constraints of a specific place or moment, the work becomes a kind of mirror - offering not a reflection, but a space. A space into which the viewer can pour their own stories, landscapes, and longings. It’s as though the abstraction removes the artist’s voice just enough to allow the viewer’s voice in. And what a rich chorus it becomes. A single piece of fabric photographed with a slow shutter becomes, depending on who is looking, the swell of a wave, the arc of a hill, or the shimmer of heat rising off summer asphalt. The ambiguity is not a lack - it’s an offering. There’s something deeply human in this instinct to project meaning. We do it with clouds, with music, with the passing expressions on strangers’ faces. Abstract art simply gives us the same opportunity with more intent. It opens a door, and quietly steps aside. This experience has changed the way I think about my own work. I no longer see the image as something fixed, something to be “read” correctly. Instead, I see it as a conversation - one that doesn’t begin with me, but continues through the imagination of others. In the end, perhaps that’s the real gift of abstraction: not that it says nothing, but that it makes room for everything.  A calm, serene reception area in a wellness business In a world where office design is no longer just about function, art has become an essential part of creating spaces that inspire, calm, and connect. But what kind of art truly belongs in a corporate environment? Abstract photography - especially when rooted in nature and texture - is uniquely powerful. It avoids clichés, invites interpretation, and contributes to an atmosphere of professionalism and creativity without distraction. Here’s why more designers and businesses are turning to abstract artworks for their walls - and how this choice can elevate any workplace. 1. Abstract Art Evokes, But Doesn’t Distract Literal images can be beautiful - but in a workspace, they can often be too specific or overstimulating. A recognisable scene might spark personal memories, associations, or even disagreement. Abstract work, on the other hand, is open-ended. It gives the viewer space to interpret, to pause, and to reflect. This is especially true of abstract photographic landscapes, where light and form create a sense of familiarity without being literal. “People see different things in my work - a Canadian lake, a Welsh hillside, or a dream they once had. That invitation for personal narrative is where the magic lives.” - Chris Melville 2. Calming Aesthetics Improve Focus and Wellbeing Workplace design today is deeply connected to mental wellbeing. Art can support that - or undermine it. Studies show that natural, textural imagery helps reduce stress and increase focus. That’s why hospitals, wellness clinics, and even boardrooms are moving away from corporate slogans and towards soothing visual environments. These abstract landscapes - with their meditative tones, soft textures, and slow-shutter dreamscapes - fit this perfectly. They help transform cold commercial interiors into warm, thoughtful places to spend time. 3. Abstract Art Complements a Brand Without Being Literal Many businesses want art that “fits their brand” - but not in a cheesy way. Abstract photography allows you to:
4. It Creates a Sense of Place - Even in Global Spaces One reason abstract photographic landscapes work well in global offices is they evoke “somewhere” - but not any specific place. In this case, the images may originate in New Zealand, but viewers see:
5. Abstract Photography Works Beautifully at Large Scale These prints are designed to hold their power at A0 and above - making them perfect for:
Ready to Elevate Your Space? Whether you’re designing a new workspace, refreshing a client’s boardroom, or curating art for a hotel or healthcare facility, abstract photographic artwork offers a powerful solution. Chris Melville’s large-scale abstract works are available as:
 A corporate reception room with an edgier, funky feel and abstract artwork to match |
AuthorChris Melville is an award-winning abstract photographer based in Auckland, NZ. Archives
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