The art world has witnessed a seismic shift in 2024-2025, with recent exhibitions and market trends revealing the enduring difference between abstract and figurative approaches. As collectors and interior designers navigate Australia’s evolving art landscape, understanding these distinctions has never been more crucial. The National Gallery of Australia’s October 2024 exhibition “Boundaries Blurred” in Canberra sparked renewed debate about these artistic directions, drawing over 45,000 visitors in its first month alone and highlighting how contemporary artists increasingly bridge both worlds.
The fundamental difference between abstract and figurative art lies in representation: figurative art depicts recognisable subjects from the visible world—people, places, objects—whilst abstract art prioritises colour, form, line, and texture independent of visual references. However, this binary distinction has become increasingly nuanced. Figurative work can incorporate abstract elements through distortion or stylisation, whilst abstract pieces often retain subtle references to the natural world. Moreover, the viewer’s interpretation plays a critical role; what one person perceives as purely abstract, another might recognise as a simplified landscape or emotional portrait. Understanding this spectrum rather than a rigid divide helps collectors make informed decisions when selecting pieces for their spaces.
Recent Market Developments: Abstract vs Figurative in 2024-2025
The Australian art market has experienced notable shifts according to the Australian Art Sales Digest’s Q3 2024 report released in September. Abstract works saw a 23% increase in auction sales compared to the previous year, whilst figurative pieces maintained steady demand with a 14% rise. This divergence reflects changing interior design preferences, with colour-driven abstract pieces increasingly favoured for residential and commercial spaces seeking versatile, mood-setting artworks.
Sotheby’s Australia reported in their December 2024 analysis that abstract minimalist works commanded premium prices in Melbourne and Sydney markets, with pieces by emerging artists selling between $15,000 and $85,000. Meanwhile, figurative portraiture experienced a resurgence, particularly works featuring contemporary Australian subjects. The auction house noted that collectors under 40 demonstrated equal interest in both styles, rejecting the traditional preference hierarchy that once dominated the market. This generational shift has prompted galleries across Brisbane, Perth, and Adelaide to curate exhibitions showcasing both approaches side by side.
The Art Gallery of New South Wales’s February 2025 installation “Form and Figure: Contemporary Dialogues” in Sydney drew significant media attention when curator Dr. Rebecca Chen positioned abstract and figurative works in alternating galleries. Speaking to The Australian on February 12, 2025, Chen explained: “We’re witnessing artists who refuse categorisation. They employ figuration one day and complete abstraction the next, depending on their conceptual needs.” This fluidity reflects broader cultural conversations about identity, representation, and the role of art in communicating complex ideas without literal translation.
Key Characteristics That Define Each Movement
Figurative art maintains its foundation in observable reality, even when artists interpret subjects through personal stylistic lenses. Works in this category typically feature identifiable elements—human forms, architectural structures, natural landscapes, or everyday objects. The artistic tradition stretches from Renaissance masters through to contemporary portraitists like Melbourne-based artist Wendy Sharpe, whose 2024 series “Urban Portraits” captured Sydney commuters with expressive brushwork whilst retaining clear figuration.
The approach demands technical skills in proportion, perspective, and anatomical understanding, though contemporary figurative artists often deliberately distort these conventions for emotional impact. New York’s Museum of Modern Art (MoMA) noted in their January 2025 publication that figurative painting has evolved beyond traditional representation, with artists incorporating photography, digital manipulation, and mixed media to create works that challenge conventional portraiture whilst maintaining recognisable subjects.
Abstract art, by contrast, liberates itself from representational constraints. Pioneered by artists like Wassily Kandinsky in the early 20th century and expanded by movements including Abstract Expressionism and Minimalism, this approach emphasises visual elements as subjects themselves. Colour relationships, compositional balance, textural variation, and gestural marks become the artwork’s primary content rather than vehicles for depicting something else.
The “Macro” print exemplifies geometric abstraction’s precision, using calculated forms and spatial relationships to create visual harmony without referencing external subjects. Similarly, “Grey Geometric Abstract Artwork – Geo Contrast 2” demonstrates how monochromatic palettes and structured composition can generate compelling visual experiences through pure formal elements. These works showcase abstraction’s capacity to transform spaces through colour and form alone.
The Spectrum Between Extremes
Many contemporary works occupy the territory between pure abstraction and clear figuration. Semi-abstract or abstracted figurative pieces retain suggestions of recognisable forms whilst prioritising aesthetic elements over literal representation. This middle ground has proven particularly popular in Australian residential design, where homeowners seek pieces that offer visual interest without dominating narratives that might conflict with diverse interior styles.
Brisbane’s Institute of Modern Art hosted “Threshold Spaces” in November 2024, featuring 17 Australian artists working in this liminal zone. Exhibition director Marcus Webb told Artlink Magazine that 68% of sales came from works that “hinted at landscape or figure without committing to either,” suggesting collectors appreciate interpretive flexibility. This trend aligns with broader design movements favouring adaptable, timeless pieces over trend-specific statements.
The Australian Perspective: How Local Artists Navigate Both Worlds
Australian artists have historically demonstrated remarkable fluidity between abstract and figurative approaches, influenced by the continent’s unique landscape and cultural identity. The Heidelberg School of the late 19th century established Australian figurative traditions depicting local scenes and characters, whilst mid-20th century artists like John Olsen pioneered distinctively Australian abstract approaches inspired by aerial landscape perspectives and Indigenous dot painting techniques.
Contemporary Australian artists continue this dual engagement. Adelaide-based painter Sarah Goffman’s March 2024 exhibition at the Museum of Contemporary Art Australia in Sydney featured large-scale works oscillating between geometric abstraction and recognisable architectural forms from urban environments. Goffman explained in her artist statement: “Australian cities possess a visual language of light, space, and colour that demands both abstraction and representation to fully capture.” Her approach reflects a broader national tendency to draw from both traditions simultaneously.
The “Colourful Australian Abstract Art Print – Relaxing at the Campsite” captures this distinctly Australian approach, blending landscape suggestions with bold abstract colour fields that evoke the emotional experience of place rather than literal depiction. Meanwhile, “A Day Outdoors – Limited Edition Abstract Art Print – Melbourne” demonstrates how Australian artists translate urban experiences through abstracted forms whilst maintaining geographic specificity, creating pieces that resonate locally whilst embracing universal abstract principles.
Indigenous Australian art presents perhaps the most sophisticated integration of abstract and figurative elements globally. Works by artists from communities including Papunya, Arnhem Land, and the Tiwi Islands employ what Western categories might classify as abstract mark-making—dots, circles, lines—to represent specific Country, Dreaming stories, and cultural knowledge. These pieces challenge binary categorisation, demonstrating that the abstract-figurative distinction reflects Western art historical frameworks rather than universal artistic truths.
Regional Variations in Collecting Patterns
Art collecting patterns across Australian regions reveal interesting preferences. According to the Australian Bureau of Statistics’ 2024 Cultural Participation Survey released in August, Melbourne collectors demonstrated the strongest preference for abstract works at 61%, whilst Sydney buyers showed more balanced interest with 52% favouring figurative pieces. Brisbane, Perth, and regional centres displayed growing appetite for landscape-inspired abstractions that reference Australian environments without literal representation.
These regional differences reflect varying design aesthetics and cultural influences. Melbourne’s historically strong architectural design culture and international art fair presence has cultivated appreciation for minimalist abstraction, whilst Sydney’s harbour-centric lifestyle and figurative portrait tradition maintains demand for representational works. Understanding these market nuances helps collectors and interior designers make selections aligned with local aesthetic contexts whilst expressing individual preferences.
Collecting Considerations: Which Style Suits Your Space?
When selecting between abstract and figurative artworks for residential or commercial spaces, several practical considerations guide effective decision-making. Figurative pieces generally establish clearer narrative context within rooms, making them particularly effective in spaces with defined purposes—dining areas benefit from still lifes or convivial scenes, whilst home offices might feature portraits or urban landscapes that subtly reinforce professional atmospheres without overwhelming concentration.
Abstract works offer exceptional versatility across diverse interior styles. Their non-representational nature allows them to complement varied furniture choices, colour palettes, and architectural features without creating visual conflicts. This adaptability explains their popularity in spaces requiring design flexibility, including rental properties, staged homes, and commercial environments where client preferences vary widely. The absence of specific subject matter also extends artwork longevity, as abstract pieces rarely feel dated by changing cultural trends or personal circumstances.
Portrait-based works like “Peekaboo – Abstract Lithograph Portrait Artwork” demonstrate how figurative elements can be stylised through abstract techniques, creating pieces that offer human connection whilst maintaining design versatility. Similarly, “Seaside Daydream Portrait – Colourful Abstract Wall Art Print” shows how Australian artists blend recognisable portraiture with vivid abstract colour treatments, producing works that bridge both approaches for collectors seeking middle-ground options.
Emotional and Psychological Impacts
Research published in the Journal of Environmental Psychology in September 2024 by Dr. Laura Benson at the University of Queensland examined viewer responses to abstract versus figurative artworks in residential settings. The study of 340 participants found that figurative works generated stronger immediate emotional responses tied to memory and personal narrative, whilst abstract pieces created sustained meditative engagement and reduced reported stress levels over extended viewing periods. These findings suggest different styles serve distinct psychological functions within living spaces.
Figurative art’s narrative capacity makes it particularly effective for spaces intended for social interaction and conversation. A representational landscape or portrait provides ready talking points and shared reference points for guests. Abstract works, conversely, encourage individual interpretation and contemplation, making them ideal for private spaces like bedrooms or home studies where personal reflection takes precedence over social exchange. Many collectors maintain both types throughout their homes, curating room-specific atmospheres through strategic style selection.
Investment and Resale Considerations
From an investment perspective, both abstract and figurative works by established artists maintain strong resale values, though market dynamics differ. Christie’s Australia reported in January 2025 that blue-chip abstract works—particularly pieces by artists with institutional exhibition histories—demonstrated more consistent appreciation rates of 7-12% annually over the past decade. Figurative works showed wider variation, with portraiture and genre scenes by recognised artists appreciating strongly whilst less distinguished figurative pieces experienced flatter growth.
For emerging artist acquisitions, the distinction matters less than artistic quality, conceptual rigour, and market positioning. Both abstract and figurative works by early-career artists carry similar risk-reward profiles. What matters most, according to Melbourne art advisor Patricia Chen speaking at the February 2025 Australian Art Collectors Summit, is “authentic artistic voice, technical excellence, and cultural relevance—factors that transcend style categories and ultimately determine long-term value appreciation.”
Future Outlook: Hybrid Approaches Gaining Ground
Looking ahead through 2025 and beyond, industry analysts predict continued blurring of boundaries between abstract and figurative approaches. The rise of digital art tools, augmented reality exhibitions, and NFT markets has enabled artists to experiment with transitional works that shift between representation and abstraction depending on viewing context or time. Sydney’s Artspace hosted “Fluid Forms” in March 2025, showcasing projection-based pieces that morphed from recognisable cityscapes into pure colour abstractions over 20-minute cycles, suggesting future directions for the medium.
Generational shifts also influence these trajectories. Millennials and Generation Z collectors, who represent an expanding market segment, demonstrate less concern for traditional categorical distinctions. According to Artsy’s 2024 Collector Survey released in November, 73% of collectors under 35 reported selecting works based on personal aesthetic response rather than style classification, compared to 48% of collectors over 55. This attitudinal shift suggests future markets will increasingly emphasise individual artistic vision over adherence to movement conventions.
Environmental and social consciousness also shapes contemporary practice. Many artists now employ abstract approaches to address climate change, social justice, and cultural identity—subjects traditionally associated with figurative narrative art. Perth-based collective Future Grounds gained attention in December 2024 for abstract installations using native Australian pigments to represent environmental data about habitat loss, demonstrating how abstraction can carry specific conceptual content previously requiring figurative representation.
The integration of Indigenous Australian artistic perspectives into mainstream contemporary art discourse further challenges Western categorical frameworks. As galleries, museums, and collectors increasingly engage with Indigenous artists whose work defies abstract-figurative binaries, the Australian art scene leads global conversations about expanding definitional boundaries. The 2025 Sydney Biennale, opening in June under artistic director Cosmin Costinas, will feature 40% Indigenous Australian artists specifically selected for work that “transcends colonial art historical categories,” signalling institutional recognition of these evolving perspectives.
Practical Implications for Today’s Collectors
For contemporary collectors and interior design professionals, these developments suggest focusing on individual artwork quality and personal resonance rather than style categorisation. Whether a piece leans abstract or figurative matters less than its capacity to enhance living spaces, reflect personal values, and maintain aesthetic appeal over time. Exploring current collections with an open mindset toward diverse approaches often yields the most satisfying selections.
Additionally, building collections that incorporate both approaches creates visual variety and demonstrates sophisticated curatorial thinking. Rather than committing exclusively to abstract minimalism or figurative realism, mixing pieces allows rooms to breathe with varied visual rhythms whilst maintaining cohesive colour palettes and thematic threads. This eclectic approach, increasingly favoured in contemporary Australian interior design, reflects confidence and personal style rather than rigid adherence to single aesthetic directions.
Ultimately, the difference between abstract and figurative art, whilst historically significant and conceptually meaningful, need not constrain collecting decisions. Understanding the distinction enriches appreciation and informs selection, but personal response, spatial considerations, and long-term satisfaction should guide final choices. As Australian artists continue pushing boundaries and international influences shape local markets, collectors who embrace diverse approaches position themselves to build dynamic, personally meaningful collections that evolve alongside their lives and spaces.
 | Joseph Russell Joseph is an Australian abstract artists and curator of the Inomaly art collection. |