1. You’re Too Close to See Its Value

 

When you’ve invested hours, days, weeks or even months into creating something, you develop an intimate relationship with it.

You see every flaw, every “mistake,” every detail that didn’t turn out as you envisioned. Your own bias makes it easy to fixate on what’s wrong rather than appreciating the overall impact.

 

But did you know that viewers don’t see it the way you do?

Have you ever thought about it?

What feels like a mistake to you might actually be the piece’s unique charm. Your “ugly” work may have an authenticity that polished pieces lack. Sometimes, being too close blinds you to its real value.

 

Well, a good example - Jackson Pollock. When he first started throwing paint onto canvases, a lot of critics thought it was a hot mess. But people eventually saw the raw energy in his work - the very “flaws” that some people hated became his signature style. His chaotic drips and splatters, which might’ve looked like mistakes at first glance, ended up being his artistic genius.

 

This idea that artists are often too close to their work to judge it fairly is backed by research in psychology. There’s something called the “curse of knowledge,” where you know so much about something (like your own art) that you can’t see it the way a fresh set of eyes would.

 

The term "curse of knowledge" was first introduced by economists Colin Camerer, George Loewenstein, and Martin Weber in a 1989 paper. The concept itself, however, has been recognized in psychology and education long before it had a formal name.

The curse of knowledge happens quite often, especially in situations where someone with expertise tries to explain something to a person who isn’t familiar with the topic. It’s common in teaching, workplace communication, and even in casual conversations. Experts or people deeply familiar with a subject might struggle to simplify their explanations, assuming that others have the same background knowledge they do. This can lead to misunderstandings or confusion, as the person receiving the information might find it too complex or assume they’re missing something obvious. 

 

You’re hyper-aware of every little thing that didn’t go according to plan, but someone seeing it for the first time isn’t burdened by those details - they just see the overall impact.

 

Also, ever notice how artists sometimes need a break from their work?

 

Stepping away and coming back later helps you reset your perspective. It’s common advice because distance gives you FRESH EYES.

  

  

 

  

What seemed like a disaster yesterday might actually look intriguing when you’re not stuck in the weeds.

 

And, think about how many times an artist has hated a piece that later becomes a crowd favorite. There’s a reason for that. People aren’t looking for perfection; they’re looking for connection. 

 

Well, often those imperfections - whether it’s a rough texture, an unplanned color blend, or even an uneven line - make a piece feel more relatable and human.   This isn’t just in fine art. Even in music, some of the most iconic songs have “flaws” that ended up making them memorable.

 

The Beatles’ “A Day in the Life” has a note that rings out a bit too long, but it adds to the song’s raw emotion.

 

You might be overlooking its charm just because you’re too close to it. Instead of picking apart what’s “wrong,” consider that what you see as flaws could actually be what others find most interesting.

 

There’s a reason people often fall in love with art that the artists themselves can’t stand - those so-called IMPERFECTIONS might just be where the magic is hidden.        

   

 

 

 

2. It’s the Most Honest Reflection of You

 

 

Art is deeply personal, even when it’s meant to be commercial. The pieces you’re least satisfied with often come from moments of vulnerability or experimentation. These are the pieces where you’re pushing limits, taking risks, and stepping out of your comfort zone.  

 

You might hate it because it reveals something raw and uncomfortable about yourself, but that’s exactly what makes it powerful. The more raw, the more human it feels - and that’s what resonates with people.  

 

Rawness is exactly what can make a piece really stand out. People crave authenticity, especially in today’s world where everything feels so polished and curated. When someone connects with your work, it’s not because it’s technically perfect - it’s because it feels genuine and authentic. Your struggles, doubts, and messy emotions are likely what makes the piece relatable to others.  

 

This isn’t just theory, by the way. Look at artists like Frida Kahlo. Her work is painfully honest - she painted her suffering, her heartbreak, her fears. A lot of her pieces are far from conventionally “pretty,” but they’re celebrated because they’re so real. She didn’t hide behind perfection; she let her truth spill out onto the canvas, and that’s what draws people in.  

 

There’s also the idea of “wabi-sabi,” a Japanese aesthetic that embraces imperfections and finds beauty in the flawed and unfinished. This philosophy resonates because it acknowledges that life and art aren’t supposed to be perfect - they’re supposed to be natural. So, when your work feels rough or exposed, it might be hitting that sweet spot of raw authenticity.  

 

And honestly, pushing those limits and letting the uncomfortable stuff out is where growth happens. If your art only ever feels safe and controlled, are you really evolving?  

 

Taking those creative risks and letting your guard down is what leads to breakthroughs. Sure, it might not be the prettiest or most polished piece you’ve made, but it’s probably one of the most honest - and honesty sticks.  

 

Even in literature, the books that become timeless classics are often the ones where the authors bared their souls. Think of Sylvia Plath’s The Bell Jar or Charles Bukowski’s poetry - they’re raw, unfiltered, and at times messy, but they resonate deeply because they’re real. The same applies to visual art.   

 

I think I will bring some examples from Sylvia Plath’s The Bell Jar (1963):

"I couldn’t see the point of getting up. I had nothing to look forward to." (Chapter 2, p.7) 

Plath lays bare the deep emptiness of depression. It’s a line that hits hard, showing how even the basic act of getting up feels meaningless when you’re in that dark place.  

 

"I felt my lungs inflate with the onrush of scenery - air, mountains, trees, people. I thought, "This is what it is to be happy." "(Chapter 18, p.178) 

This line is bittersweet. It’s a brief moment of happiness that almost feels fragile -like she knows it’s temporary. Plath’s raw honesty here is both beautiful and heartbreaking.  

 

“I guess the only time most people think about injustice is when it happens to them.” (Ham on Rye, 1982, p. 231)

This line is classic Bukowski - straightforward and a bit cynical. It’s a harsh truth that most people only care about problems when they’re directly affected, making it a powerful observation.  

 

So, when you’re staring at that piece you’re embarrassed by, maybe good to think that way -  that its rawness might be its biggest strength. It’s likely more of a reflection of who you are as an artist than the perfectly polished pieces you love. The more human your work feels, the more it resonates. That’s what people connect with.

 

 

 

 

       

3. Hate Equals Growth

 

 

Creating art is a journey of growth, and growth is rarely comfortable. When you push yourself beyond the safe, familiar territory, you’re bound to produce work that feels awkward or even ugly at first. But that discomfort is a sign you’re evolving. Your most hated piece might be a glimpse into where you’re headed artistically.  

 

Maybe you’re experimenting with new techniques or trying out a fresh style, it’s natural to feel frustrated. Your brain is literally rewiring itself to handle the new creative challenges you’re throwing at it.  

That discomfort you feel? It’s a sign you’re actually learning and expanding.

 

Think about it - when you’re in your comfort zone, everything flows easily because you’re sticking to what you know. But when you push past those safe, comfort zones, things can get ugly before they get good.  

 

That’s totally normal. It’s like when you first learn a new skill; it feels clunky and awkward until it clicks. The same goes for your art.  

 

Interestingly, neuroscience backs this up. Research shows that learning something new - triggers discomfort -  because your brain is forming new neural pathways (Kolb & Whishaw, 2019). So when you’re wrestling with that piece you can’t stand, your brain is actually growing. You’re on the edge of a breakthrough, even if it feels like a mess in the moment.  

 

Think about how Picasso’s early work was very traditional before he evolved into Cubism? His transition was full of awkward, experimental stages that probably felt frustrating to him, but they led to a revolutionary style.

 

 

 

 

Growth is rarely linear. it’s more like a a messy path of trying, failing, and figuring things out.  

The pieces you love are usually the ones within your comfort zone - where everything feels controlled and safe. But growth happens when you’re uncomfortable. The piece you hate might represent a breakthrough, a step outside that comfort zone into new territory. It might be awkward and imperfect, but it’s where real artistic evolution happens. Staying too comfortable leads to stagnation.

Sometimes, looking back after a year or so, you might realize that those “ugly” pieces were actually key in shaping your current style. They mark the moments you dared to try something different, even if it didn’t work out perfectly.  

 

Those pieces captures a moment in your evolution, a phase you’re working through, or a challenge you’re overcoming. The frustration you feel is likely your brain processing new techniques, ideas, or perspectives. In a year’s time, you might look back at that piece and realize it was a turning point.

 

 

 

 

       

4. Art Isn’t About Perfection

 

We live in a world obsessed with perfection, but art has never truly been about that. It’s about expression, emotion, and connection. Often, the pieces you find flawed are the ones that are more relatable to others because they feel real. Perfection can be sterile and boring, while imperfections add texture and character. What you see as a botched composition might strike a chord with someone else because it feels more genuine.

Perfectionism can be paralyzing!

It’s easy to get stuck in endless revisions, trying to make everything just right, but at some point, you lose the spirit of what you’re creating.

 

 

 

 

Art is meant to breathe and evolve, and sometimes letting go of perfection is where true creativity thrives.  

 

Even Picasso once said, “If you don’t try to be perfect, you can be good.”  

The point is - don’t stress so much about perfect lines, ideal proportions, or flawless compositions. Instead, embrace the little glitches that happen along the way. Those are the things that make your art stand out and give it a voice.  

 

If you want to know more about perfectionism, you might find this article really helpful. It's definitely worth a quick read!  "The Secret Killer Of Artistic Creativity"  

 

 

 

 

     

5. People Love What You Dislike

 

Here’s a funny thing that happens all the time in the creative world - the piece you’re ready to toss in the trash often ends up being the one everyone else loves.  Why? Because it’s different. It’s not overthought, it’s not polished to death - it’s real - and PEOPLE LOVE IT.

 

When you create something you don’t fully control, it often carries a spontaneity that resonates more than carefully planned works. Your discomfort with the piece might be what others find intriguing.  

 

Creating something without micromanaging every detail can carry a spontaneity that polished work sometimes lacks. That’s the magic right there. It’s like letting go of the reins a bit and allowing the creative process to flow naturally, even if it’s messy.

That freedom can produce art that’s more relatable because it’s imperfect  - just like life. There’s a certain kind of beauty in work that isn’t trying too hard to be perfect. People are drawn to work that feels alive, unfiltered, raw, messy, and full of character. 

 

 

 

 

Psychologically, this makes sense. According to research in consumer behavior, people tend to find more meaning and connection in things that feel authentic rather than overly polished (Peterson & Kern, 1996). There’s something comforting about imperfection - it’s human and relatable. When your work shows those “flaws,” it invites others in because it feels more approachable and less intimidating.  

 

Another reason people might love what you dislike is that they’re seeing your work with FRESH EYES, which was mentioned before. You, on the other hand, are too close to it. You’re hyper-aware of every “mistake” and imperfection.

But what you see as flaws, others see as quirks that make your work stand out. They might even be drawn to the very thing you were tempted to fix or hide.  

 

 

 

 

6. It Challenges Conventional Ideas of Beauty

 

Sometimes the artwork you dislike the most is the one that disrupts all the rules you’ve learned. Maybe it feels chaotic, rough, or just too jarring. But here’s the thing - those exact qualities can be what make it unique and stand out in a sea of “pretty” and predictable art.

 

In fact, breaking the norms of beauty often leads to something fresh and exciting. The art world has a long history of embracing pieces that initially seem ugly, unsettling, or just plain weird. Take the work of Jean Dubuffet, for example. He championed what he called Art Brut - raw, untamed art created outside the conventional circles, often by people with no formal training. His pieces were deliberately rough, with crude figures and messy textures that went against the polished, “beautiful” standards of the time. Initially dismissed by many critics, his work later became highly influential, precisely because it broke away from traditional ideas of beauty and offered something new and authentic.  

 

Or look at Francis Bacon’s paintings. His distorted, screaming figures were unsettling and even grotesque to some viewers. But that was the point - he wasn’t interested in creating something pretty; he was after raw, intense emotion. The discomfort and tension in his work made it powerful and memorable, even if it wasn’t everyone’s cup of tea. What was seen as disturbing eventually became celebrated as a bold exploration of the human condition.  

 

The fact is, when you challenge the norms, you’re pushing limits and exploring new territory. You might be venturing into styles or subjects that make you uncomfortable, which is why you dislike the piece. But that discomfort, as it was already mentioned -  is a sign of growth - it means you’re moving beyond what’s safe and familiar. And often, that’s exactly where innovation happens.  

 

The philosopher Immanuel Kant once argued that beauty isn’t just about what’s “pretty” or harmonious. It’s about provoking thought and emotion. When art goes beyond being merely decorative and starts to question or challenge what we think beauty is, it becomes something more significant. So if your piece doesn’t fit traditional standards of beauty, it might be doing exactly what good art should -  making people think and feel something new.  

 

There’s also the fact that unconventional beauty tends to resonate with people who feel disconnected from mainstream ideals. Your rough, chaotic piece might strike a chord with someone who’s tired of overly perfect, “pretty” art. They might find your work refreshing precisely because it doesn’t conform. In a way, breaking those conventions allows you to connect with people on a deeper level, tapping into emotions or experiences that aren’t always represented in mainstream art.  

 

In psychology, there’s a term called the mere-exposure effect - the more we’re exposed to something, the more we tend to like it. When an artwork initially feels jarring, it can grab attention simply because it’s different. Over time, that difference becomes intriguing rather than off-putting. That’s why many artists who initially faced rejection for their unconventional work later found success once people’s tastes caught up.  

 

The mere-exposure effect is when you start liking something simply because you’ve been around it a lot. Even if you didn’t care for it at first, the more you see or hear it, the more familiar and likable it becomes. Basically, repetition makes things feel more comfortable and likable, even if they weren’t at first. The mere-exposure effect is used all the time in advertising and marketing. Brands repeat their ads over and over because they know that the more you see their product, the more likely you are to feel comfortable with it - and eventually want to buy it. 

 

 

The world doesn’t need more “safe” art. It needs art that shakes things up, makes people look twice, and challenges their assumptions. You might not like it, but that doesn’t mean it’s not valuable. In fact, it could be the piece that pushes you - and others - into new creative territory.

   

 

 

 

7. It’s Often Ahead of Its Time

 

"Timing is everything,” they say - and sometimes the piece you hate isn’t fully understood by you or others because it’s ahead of its time - too fresh, too different, or simply too forward-thinking for its moment. Art that pushes limits isn’t fully appreciated until people catch up. The work you feel uneasy about today could be a glimpse of where art is headed tomorrow.  

 

Take Van Gogh, for example. He famously struggled during his lifetime, with much of his work being misunderstood and even disliked by the public and critics alike. His bold colors, thick brushstrokes, and expressive style were far removed from what was popular in the late 1800s. Yet, just a few decades later, his once-criticized approach became celebrated as visionary and groundbreaking. Today, his work is synonymous with brilliance. It’s a classic example of how what seems out of place in one era can define another.  

 

Another great case is Hilma af Klint, a Swedish artist whose abstract works predated movements like Kandinsky and Mondrian. Yet, she was largely overlooked because her style was so unconventional at the time. It was only in the past few decades that her work gained widespread recognition, proving that sometimes the world just isn’t ready for what you’re doing until much later. If her work had been embraced earlier, it could have changed the trajectory of abstract art history.  

 

 

 

 

The discomfort you feel toward a particular piece might be a sign that you’re on the verge of something new. Your art might be pushing the edges of your style or testing what’s considered “in” right now. That sense of unease is often where creative breakthroughs happen. As artists, we’re conditioned to seek validation, so when something feels off, it’s tempting to dismiss it as a failure. But sometimes, it’s that very "off-ness" that makes the work stand out in the long run. 

 

This also connects with how trends work in the art world. Trends are often cyclical and unpredictable. What’s considered strange or unappealing today could be the next big thing a few years down the line. Think about Basquiat - his raw, graffiti-like style wasn’t exactly in line with the polished art scene of the 1980s. Yet, today, his work is celebrated for being ahead of its time and influential in contemporary art.   

 

So, guys, you might not like it now because it doesn’t fit neatly into your current style or what’s trendy. But what feels off today might be the direction of tomorrow. You could be creating something ahead of the conversation, which is why it feels uncomfortable now but will make sense later. 

 

 

 

 

     

8. You’re Judging it Based on Insecurity

 

Funny enough, the reason you can’t stand that piece sometimes might have more to do with your own insecurities than anything actually wrong with it.

Maybe it didn’t turn out the way you pictured it in your head, or it highlights an area where you feel less confident, like a tricky technique or a subject matter you’re not comfortable with. It’s easy to fall into the trap of comparing your work to some unrealistic standard, whether that’s from other artists or your own expectations.

 

  

 

 

Believe it or not, that “flaw” you’re cringing at might be the very thing someone else thinks is amazing.  

 

Take Claude Monet, for example. Early in his career, he struggled with deep insecurity over his work. His use of loose brushstrokes and unconventional techniques didn’t match the polished, realistic styles that were popular at the time. Critics dismissed his paintings as unfinished sketches. Yet, what Monet viewed as a potential weakness - his inability to conform to traditional realism - became the defining feature of the Impressionist movement. His insecurity about not fitting in ultimately gave birth to a whole new way of seeing the world.  

 

Insecurity can also show up when you’re working outside of your comfort zone. Frida Kahlo frequently expressed doubts about her work, especially when comparing herself to the male artists of her time, including her own husband, Diego Rivera. She often referred to herself as a "second-rate" artist, despite her work being deeply personal and emotionally resonant. The vulnerability and raw emotion she worried might be too intense were exactly what drew people to her art. Her self-doubt actually made her work more relatable and influential to others.  

 

Another example is Edvard Munch, the Norwegian artist best known for The Scream. Munch was plagued by anxiety and insecurity throughout his life, which directly influenced his work. He worried that his chaotic style and dark subject matter would alienate people, yet it’s precisely those qualities that made his work iconic. The tension and unease that he felt are reflected in his art, creating a strong emotional connection with viewers who see those same insecurities in themselves.  

 

The truth is, our insecurities often distort how we see our own work. When you’re too focused on what you think went wrong, it’s easy to miss what actually works. Maybe the colors aren’t as perfect as you wanted, or the composition feels off to you. But someone else might see those things as fresh, bold choices. They’re not looking at your piece through the lens of your self-doubt. They’re seeing it for what it is - an expression that’s unique and, most importantly, human.  

 

Interestingly, research in psychology supports the idea that we’re often our own worst critics. Studies have shown that people tend to be more critical of themselves than others are (Dunning, Heath, & Suls, 2004). This is known as the “self-enhancement bias,” where we overestimate our flaws and downplay our strengths. In the context of art, this means that while you might be nitpicking every small detail, others are more likely to appreciate the overall impact and emotion of the piece.  

 

In the world of music, Nick Drake is another example. During his life, Drake was deeply insecure about his music, which was soft, melancholic, and didn’t fit the trends of his time. He struggled with feelings of inadequacy and obscurity, leading him to believe his work had little value. Yet, decades later, his music is revered for its haunting beauty and emotional depth, influencing countless artists. What Drake saw as his weaknesses - being quiet and writing deeply personal lyrics - actually became the very things that made his music iconic and timeless.

 

Your insecurities are a natural part of being a creative person, but they don’t have to dictate how you see your work. Sometimes, the things that make you uncomfortable about a piece are what give it life, emotion, and a connection that others will appreciate, even if you can’t see it yet. 

   

If you’ve ever felt like you’re not good enough or worried that others might see through you, you’re not alone. Check out this guide for artists to learn more about Imposter syndrome and how it ties into common insecurities many of us face.

 

 

 

     

9. It’s More Authentic than Your “Safe” Work

 

" Art should comfort the disturbed and disturb the comfortable.” – Banksy.

We all have that one style or subject that feels like second nature - the thing you can create with your eyes closed. It’s comfortable, it works, and it’s usually easy to like. But here’s the catch - safe art might be pleasing, but it’s rarely the stuff people remember.

The piece you’re tempted to hide away because it feels too raw or experimental might actually be your most authentic work.

Why? Well, because it’s not trying to be perfect - it’s just honest.  

 

Think about Banksy. Love him or hate him, his art isn’t polished in the traditional sense. It’s gritty, it’s political, and it often makes people uncomfortable. But that’s exactly why it’s so powerful. Banksy isn’t concerned with making something pretty. He’s focused on making something real. His pieces feel authentic because they’re not hiding behind a facade - they say what they need to say, even if it’s messy or provocative.  

 

Or take Damien Hirst. The guy literally put a shark in a tank and called it art. When he started out, his work was considered shocking and even grotesque by some. But Hirst wasn’t trying to play it safe; he was exploring themes like death and decay in ways that no one else was. That raw, unfiltered approach made him one of the most talked-about artists of our time. The very things that made his work controversial - its rough edges and uncomfortable themes - are what made it unforgettable.  

 

When you’re creating something outside of your usual comfort zone, you’re letting go of control. Maybe the colors don’t feel quite right, or the composition feels awkward. But those “imperfections” are often what give the piece its authenticity. We live in a world where everything is edited, filtered, and curated to look perfect. So when people see art that’s just real - flaws and all - it’s like a breath of fresh air. They’re drawn to the rawness because it feels human, relatable, and true.  

 

Keith Haring is a perfect example of this. His bold, simplistic figures were never about being perfectly executed. They were about capturing energy, movement, and emotion in the most honest way possible. His work wasn’t polished, but it was undeniably authentic, and that’s what made it resonate.  Authenticity is what people crave - they want to see the real you, even if it’s messy.  

 

 

 

 

     

10. It Forces You to Face Creative Block

 

Creative block is a nightmare for any artist. You’re staring at that blank canvas or screen, feeling like your brain’s just given up on you.

But here’s the thing - that one piece you kind of hate? The one you feel like chucking in the bin? Sometimes, the piece you hate is the one that drags you out of that block.

It’s rough, unpolished, and probably frustrating, but it got you creating again. Even if it’s not your favorite, it served a crucial purpose. It was the piece that pushed you to keep going when you felt stuck.

 

  

 

 

When you’re stuck, it’s rarely a masterpiece that gets you back on track. It’s usually something messy and chaotic that loosens up those stiff, creative muscles.  

 

Look at Billie Eilish - she’s known for being raw and real. Some of her biggest hits came from messing around with ideas that didn’t seem polished at first.  Billie and her brother, Finneas, often talk about how they create songs that feel wrong or off at first. But by allowing themselves to be messy and experiment, they end up with music that’s fresh and real. Her hit "Bad Guy" didn’t come out perfectly polished; it started as playful, offbeat sounds that evolved into something iconic. That’s what happens when you embrace the process, even when it feels awkward. 

 

Now, think about Takashi Murakami, the Japanese contemporary artist. He’s famous for blending pop culture with fine art, but even he talks about having phases where nothing seems to click. When he’s stuck, he digs into those odd, uncomfortable ideas - the ones that feel too out there.

The result? Vibrant, wild pieces that challenge norms and have become iconic in both the art and fashion worlds. Murakami’s process isn’t about perfection; it’s about playing around with ideas until something clicks, even if it starts off looking like a colorful mess.

 

When you’re blocked, you’re not going to jump straight to a masterpiece. You’re going to create something that might look like a disaster. But that’s exactly what breaks the block.

 

Ai Weiwei, the famous Chinese artist and activist, doesn’t always know where his work is heading when he starts. He experiments, makes things that seem strange or even uncomfortable, and then builds from there. His installations and sculptures often start with him just throwing ideas around until something clicks. That initial roughness is what allows his work to challenge boundaries and get people talking. 

 

The science backs this up too - when you’re creatively blocked, your brain can get stuck in overthinking mode (Sakamoto, 2009). But just putting something out there, even if it’s not great, shakes things up. It gets the creative juices flowing again.

That piece you think is trash? It’s probably just your brain warming up for something better.

Even Tyler, The Creator has talked about how some of his weirdest, most experimental tracks were born out of creative frustration. They didn’t always make sense at first, but they led him to fresh ideas and eventually to tracks that became fan favorites.

So yeah, maybe that piece you just made feels like a flop. But it served its purpose - it got you out of your head and back into the creative zone.  

   

 

 

 

       

11. The Art World Loves Controversy

 

Controversy gets attention. Whether it’s in the news, on social media, or in the art world, people are drawn to things that stir the pot.

So, that piece you can’t stand might actually be the one that gets people talking. It’s not always about creating something that’s beautiful or pleasing to everyone - it’s about creating something that makes people feel something, even if it’s discomfort or confusion.  

 

Here’s a perfect example - Tracey Emin’s My Bed. Imagine walking into a gallery and seeing an unmade bed, complete with used tissues, empty vodka bottles, and stained sheets. It’s not exactly what most people expect when they think of “fine art.” Yet, that piece caused a huge stir and became iconic because it was raw, real, and deeply personal. Emin’s work was criticized for being messy and vulgar, but it also sparked conversations about mental health, vulnerability, how far art can really go. People couldn’t stop debating whether it was art or just a dirty bed - and that’s exactly what made it impactful.  

 

Controversy doesn’t even have to be intentional. You might create something, feel like it’s a total failure, and then suddenly people are reacting in ways you never expected.  

The art world thrives on this kind of tension. In fact, galleries and collectors often seek out work that pushes limits because it’s more likely to leave a lasting impression. As Grayson Perry discusses in Playing to the Gallery (2014), the most memorable and influential art often challenges conventional expectations and forces viewers out of their comfort zones.

Safe, pretty art might be pleasant, but it rarely sticks in people’s minds. The pieces that make us squirm a little, that spark debates - those are the ones that stay with us.  

 

 

 

       

12. It’s a Mirror, Not a Masterpiece

 

Art is a reflection, not just of the world, but of the artist’s inner landscape. The piece you hate might be revealing something about yourself that you’re not ready to confront. It might be messy, chaotic, or dark, reflecting feelings or thoughts you usually keep buried. But that’s what makes it powerful.  

 

When you’re creating, you’re unconsciously putting your feelings and thoughts out there, whether you like it or not. That piece you can’t stand might be digging into something you’re avoiding. Maybe it’s frustration, fear, or doubt that you haven’t fully processed.  

 

Even if you don’t like it, your most hated piece still carries your artistic voice. It’s part of your creative DNA, reflecting your thoughts, emotions, and experiences at the time. It might not be perfect, but it’s still a piece of you. And every piece of you has value, even the ones you wish you could forget.

 

Francis Bacon’s portraits are a perfect example of this.  His paintings are intense, with twisted faces and distorted bodies that scream chaos. They make people uncomfortable, and that’s the point. Bacon’s work was an expression of his own inner turmoil, and it hits hard because it’s brutally honest. People found his work disturbing, but that’s what made it unforgettable, and they connect with it because it’s real, and real is memorable.   

 

Psychologically, this actually makes a lot of sense. When something shows us a truth we’re not ready to deal with, our brains are like, “Nah, I don’t want to go there.” It’s a defense mechanism - your mind’s way of protecting itself from uncomfortable emotions. So, when you make a piece of art that feels off or makes you cringe, it’s probably hitting a nerve. That discomfort usually means there’s something deeper going on, and that’s worth paying attention to.

 

The stuff you avoid or dislike in your work is often the stuff that’s revealing more than you realize. It’s like your art is holding up a mirror, showing you what’s really going on inside, whether you want to see it or not.

And honestly, that’s where real growth happens - not just in your art, but in life too. Growth doesn’t come from staying cozy in your comfort zone; it comes from facing things that make you squirm a little.

The piece you’re avoiding might be showing you something you need to face, and that’s what gives it depth. Sometimes, the most uncomfortable art is the most genuine - and that kind of raw truth is priceless... but you’ve probably felt that deep down already!

 

 

     

 

13. Sometimes, It Just Needs a Second Chance

 

So, you’ve read through all the reasons why your most hated piece might actually be a hidden gem. But if you’re still staring at it, thinking, “Nope, I still hate it,” I hear you. Sometimes, that feeling is hard to shake. But before you toss it aside for good, consider giving it a second chance.

 

Maybe it’s not as bad as you think - maybe it just needs a little more time, a fresh perspective, or that extra touch to turn it into something you love or happy about.  You’re not alone in this. Every artist has had that one piece they wanted to abandon, only to realize later that it just needed a bit more time and attention. So, if you’re still cringing at it, don’t stress - it might just be a diamond in the rough, waiting for you to polish it up.

 

I’ve been there myself. There was a piece I absolutely hated - I almost gave up on it and just let it be “a free-for-all brush hot and hated mess” or whatever you can imagine. But here’s the magic - after stepping away and giving it another shot, it surprisingly became one of my favorites. And guess what? It found a new home pretty quickly too! 

 

 

 

   

Final Thoughts -  Embrace What You Hate

 

When you find yourself cringing at something you’ve created, take a breather. Instead of tossing it aside, try to see what it’s really telling you. It might not be picture-perfect, but that’s okay. They’re the ones that show your growth, your struggle, and maybe even a breakthrough you didn’t see coming. 

That piece you’re side-eyeing? It might just be the one that pushes you to the next level - or the one everyone else sees as your masterpiece. There’s beauty in the mess, and sometimes, the work you’re least proud of is the one that teaches you the most.

 

If you’re looking for more insights and tips on navigating this crazy artist journey - check out the other topics on my blog, where I dive into the ups and downs of the creative process and share some juicy insights on Contemporary art.

And, there are also -  Digital Guides For Artists -  packed with tips and advice to help you tackle those challenges that pop up along the way. 

 

 

 

   

     

 

 

References:  

 

Plath, S. (1963). The Bell Jar. Faber & Faber.

Bukowski, C. (1986). You Get So Alone at Times That It Just Makes Sense. Black Sparrow Press.

Bukowski, C. (1982). Ham on Rye. Black Sparrow Press.

Kolb, B., & Whishaw, I. Q. (2019). An Introduction to Brain and Behavior. WORTH PUBL INC

Peterson, R. A., & Kern, R. M. (1996). Changing Highbrow Taste: From Snob to Omnivore. American Sociological Review, 61(5), 900–907.   Kant, I. (2023). The Critique of Judgment Part I: Critique of Aesthetic Judgment. Zinc Read. ISBN-13: 978-9358587227.

 

Dunning, D., Heath, C., & Suls, J. M. (2004). Flawed Self-Assessment: Implications for Health, Education, and the Workplace. Psychological Science in the Public Interest, 5(3), 69–106.  

 

Sakamoto, M. (2009). The Role of Inhibition in Creative Problem Solving: A Study of Creative Blocks. Journal of Experimental Psychology, 135(4), 562-572.  

Perry, G. (2014). Playing to the Gallery: Helping Contemporary Art in Its Struggle to Be Understood. Particular Books. ISBN-13: 978-1846148576