The Importance of Repetition in Art
Snakes Pattern created for the To Migraines Collection.
Life is a series of ever-repeating events. Brushing your teeth at the crack of dawn? Very normal—and much appreciated by both your body and the public. Following your standard route to work? Of course. It’s probably the fastest route anyway. Ordering your favorite dish from the diner down the block? Standard operating procedure. Why test the waters now with something new after a decade?
“Frankly, all of this could easily feel mundane, but there’s comfort in the routine.”
It’s a powerful force that drives our everyday lives and bleeds into our creative endeavors. Whether it’s a series of recurring moments or quirks of our own, we live in a state of repetition—sometimes unintentionally. There is great value in these repeating elements within our lives, and even more so in the art we create.
What is it?
Widely considered a fundamental principle in art, repetition refers to the recurrence of a particular line, shape, color, or other visual elements in a series. Think stripes on a thin beach towel or a cross-hatching shading style. Both use a single element that is repeated or replicated: the line is the repetition, while the stripe is the pattern. We enter the realm of pattern when multiple visual elements are used together in a repeating sequence. Think of a collection of Rothkos or the wallpaper in an Embassy Suites bedroom. The principle of repetition is a staple.
“Order can be a powerful additive to the composition at large.”
The Larger Importance of Repetition.
Whether the repetition is even or irregular, both forms act as building blocks for the artist’s brand. Viewers will come to recognize these patterns and motifs in their work, helping to connect the visual language to the artist's intended message.
It would be silly not to care about this. Between the lines of stripes or beneath a pattern of birds, there may lie a deeper meaning. The repetition of a visual element often holds philosophical and/or conceptual significance for the artist. Their aim could lie in shifting public perception, commenting on the state of the world, or showcasing the evolution of a particular culture. It adds to the artist's voice within an infinitely expanding composition.
Some Issues in Repetition.
Nothing’s perfect. So what’s the downside to this principle? Most criticisms of repetition are rooted in concerns about originality or authenticity. Reusing the same imagery can be seen as lazy—the artist isn't perceived as making an effort to make every inch of the work unique. Over time, an over-reliance on a specific motif may signal artistic stagnation or a lack of growth.
In more extreme cases, issues of appropriation arise. Especially in our digital age (though not limited to it), artworks have been reused to create new patterns. Does this reuse trivialize the original, or does it add to an expanding narrative? Many contemporary artists employ accessible imagery with little or no alteration, raising copyright concerns. Art is such a painfully personal process that some patrons will completely dismiss artists who use these techniques.
Artists Utilizing the Principle
Yue Minjun
A humorist artist who uses his own face, frozen in a state of laughter, as a repeating motif. The figures are arranged in different settings and positions, but the face and expression remain unchanged.
Yayoi Kusama
A Japanese artist who utilizes an endless army of dots as her repeating motif.
Gustav Klimt
An Austrian artist, heavily celebrated during the Art Nouveau Period. He utilizes a repeating motif of ornamentation coated in gold.
About the Artist
Shareon “Bhare” Blenman is a multidisciplinary artist based in Charlotte, North Carolina. Born in 1998 to Barbadian immigrant parents, Bhare initially pursued a career as a chef before transitioning into the art world. His diverse practice encompasses traditional canvas work, digital oil paintings, sculptures, and even ventures into skateboarding design.
Bhare earned his undergraduate degree from Johnson & Wales University, balancing various creative jobs during the early stages of the global lockdown. By the age of 23, his work had already been showcased in traditional and digital galleries across North America and Europe. He has exhibited in more than three professional galleries and sold over 30 pieces in his debut year.
Now at 26, Bhare has been featured extensively in a magazine, completed a 40-foot commission for the Spectrum Center, and even had his work sold through Sotheby’s.
Bhare currently lives and works in Charlotte, North Carolina. He merges his work through both traditional and digital styles, exhibiting with prestigious galleries in New York, Pennsylvania, Los Angeles, Copenhagen and most recently Toronto.