When we travel we stay in various places (of course!). I do know some authors who note the artwork on the walls of the places where they stay. Either in the rooms or corridors, the artwork is serving a purpose for the owners/managers of these establishments.
We tend to note these items peripherally, to feel them rather than see them; they are part of the ambience, nothing more.
But for me, I crave stimulus material. Yes, there is generally a reason why I have travelled to this place which means that the stimulus material is all around us, elsewhere. Not within the hotel. But we still spend enough time in the room or the corridors, to be influenced by this also. Does the place reflect the more wider environment?
And I’m noticing a pattern here. Going back over old photos, as well as casting my mind back through the memories, I’m realising that the determination to be generic in the artwork chosen is producing another genre in itself — the inoffensive abstract. The budget reprint. The ‘out of copyright’ prints occasionally, but more often, the ‘struggling artist who can give us what we want in return for minimal payment’ artwork.
There are abstracts, and there are abstracts. In the living-room area of our room in Melbourne the artworks were unsigned and very basic. Just circular swirls of paint with some metallic gold texture blobbed in. The colours chosen to match the décor, as if the artwork was produced by the decorator more as a sample palette than anything real.

In the bedroom were two pieces of slightly more complex art, but these are prints, carefully mounted, which appear to be identical. It is possible that one is a slightly modified pastel shade of turquoise while the other is slightly stronger in the blue tones, but with the room lighting it is difficult to tell. Again, generic and inoffensive. There should never be anything controversial of thought-provoking in the hotel. Perish the thought!

Lifestyle shows on TV have demonstrated how to produce this sort of artwork with a canvas and some novel medium such as cornice cement left over from a renovation. These pieces can embellish a room in interesting ways, bit they add nothing intellectually. They are like a throw pillow on the couch adding interesting texture. They look good but all you really want is comfort.
So when I am momentarily stuck for inspiration while writing on the road, I roam the hotels and corridors and I’m left wanting. Occasionally I can luck out. In the corridor of the hotel in Athens, was some artwork clearly designed to hint at classical Greece, but there was something disturbing about the lack of faces in the figures. We walked past them many times over the week we stayed there, and each time I felt the non-gaze drawing me in deeper. The real Athens was outside, but these faceless figures hinted at something potentially nastier. I’m sure that was not the intention, but as a result, I valued that artwork.

Back in Australia, in Canberra, one of our regular watering holes has taken the generic abstract to extremes. In the corridor and also in at least some of the rooms (we have yet to experience all of them) are a series of textured abstracts that perhaps hint at a desert landscape.

At first seeming identical, I went looking to study them and realised that they do appear to have been individually done, but in such quantity that the artist is able to manually duplicate the work with a high degree of repeatability. As I wandered the corridors I noted one very unusual piece — the same abstract, but this time, upside down! Was this an attempt to look a little more different? Or an indication that these pieces are so banal that there is no right way or wrong way, there is just the splotch of colour on the wall whose main purpose is to alleviate monotony.

Also in this Canberra hotel the corridor walls are lined with photographs of Australian scenes including birds and animals. Each one has a price tag. For me, the stimulus from these (and I have looked at them often) was the realisation that, as a photographer, I can do at least as well. I’ve noted the images and the prices and started selling my own photographs. I’ve started learning and trying.
And it has made me realise that what drives me to try, and to improve, both in photography and writing, is comparison. How well did that photographer frame the subject? What photographic techniques were used? How can I use that technique? If I had used that in my earlier photos, how much better would they look?

And so with writing. I read other books and my mind analyses what worked for me. How did the writer manage the tension? How could I adapt that to my own writing? And then I give it a go.
As we travel, I take photographs which reflect some aspect of the experience of the place. It’s the intimate corners that hint at the human story so often unseen. So when I write in various hotel rooms wherever we are, it is not the generic inoffensive art on the wall that stimulates my imagination.










































