If there's a single black stone on a sandy beach, you'll notice it. If there's one word written on a sheet of paper, you'll see it. When a bell tolls a single note, you'll hear it. If a drop of rain falls on your face, you'll feel it. There's something elegantly powerful in singles and smalls, especially if they are allowed to take a solo stage. You might have guessed that I couldn't tell you about oversize art without talking about undersize art as well. Both are captivating and impactful by entirely different means.
Undersize art could easily be dismissed as the step child of the art world - fully there, but not fully appreciated. Often eschewed as low budget or second drawer, diminuitive art can easily (sadly) be passed over in favor of the bigger-and-therefore-it-must-be-better ideal. But let's consider this: a seashell has as much architecture as a galaxy. Let's not assume that captivating can't be held in the palm of our hand.
They foster a tangible sense of calm, these little things. Yet still they hold the hallmark of great art in how they beckon the viewer to come close, come see, come experience.
Of note about undersize art:
+ Undersize art is easily swapped. Feeling something different for spring? Not a problem.
+ You can find it anywhere: book illustrations, fabric scraps, photographs, calendars, or original drawings, paintings, and sketches.
+ Art doesn't always mean two dimensions. The small triangle shelf, the hat, and the berry twig bring in an engaging third dimension. Other possibilities are antlers, fiber art, or sculpture.
+ Lower is better. For best experience, hang undersize art to your scale, not to the scale of the wall.