The art of choosing art for your space
Whether it is the way the light hits a sculpture in the foyer or the texture of a kantha on the wall, the art you choose is what finally turns the house into a home
The walls of a home are often the last things we truly look at. We spend months agonising over the grain of the marble for kitchen counters or the exact shade of grey for the sofa, yet when it comes to the art that will inhabit those walls, the decision-making process usually collapses into a hurried trip to a gallery or decorative shop just before the housewarming.
We treat art as the 'final touch' when it should perhaps shape the mood of the entire space. In Bangladesh, this disconnect is particularly visible. We have a rich craft and artistic tradition, yet many modern interiors feel visually polished but emotionally empty.
According to architect and artist Mustapha Khalid Palash, this stems from a misunderstanding of what art is meant to do.
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"In Bangladesh, art is still largely treated as an afterthought in most residential and commercial projects," he says. "The focus typically remains on functionality, finishes and furniture, and art enters the conversation only towards the end — if at all. This is unfortunate, because art has the capacity to give a space its emotional identity."
The architecture of the frame
If we want to move beyond the superficial, we have to change the timeline. Usually, art is bought to fill a gap. There is a white wall; it looks a little lonely, so we hang a picture on it. But what if the wall were designed with the art in mind?
Palash suggests the conversation should begin while the blueprints are still being drawn. He views art not as a luxury or a filler, but as a "bridge between space and human emotion". When an architect knows where a significant piece of art will hang, the very physics of the room can shift to accommodate it.
"From an architectural perspective, the right time to think about art is at the very beginning of the design process," Palash explains. "Art should not be seen as decoration but as an integral layer of spatial experience. When we consider art early, it can influence wall proportions, lighting design, circulation and even material choices."
A hallway designed to catch afternoon light on a textured painting, or a staircase landing built around a sculpture, creates a very different experience from a room where art is added later simply to fill a blank space. Without this integration, Palash says, "spaces may function well, but they often lack soul".
This approach is slowly gaining popularity among younger homeowners, who increasingly want homes that feel personal rather than showroom-perfect. Instead of matching everything to a catalogue aesthetic, many are now looking for interiors shaped by memory, travel and individuality. Art naturally becomes central to that process.
What keeps going wrong
"One of the most common mistakes is treating art as something that must 'match' the interior — matching colours with cushions or curtains," says Palash. "Art is not upholstery; it should create dialogue, not camouflage."
Architect Augustin Anjan echoes this sentiment, noting that even when people do try to buy art they love, they often ignore the physical reality of the room.
"Most people do not think about what would be suitable for their homes," Anjan says. "Usually, they buy something colourful they like and then put it wherever they want."
This lack of planning leads to the second most common error: failure of scale. We have all walked into a room where a tiny, postcard-sized frame is stranded in the middle of a massive double-height wall. It looks like a typo on a blank page. Conversely, a huge, aggressive canvas in a cramped, low-ceilinged room can feel suffocating.
"Proportion is critical," says Palash. "People often choose artworks that are too small for large walls, which makes both the wall and the artwork feel disconnected."
Anjan adds that background colour, furniture proportions and natural light all matter.
"While choosing artwork for a space, we should consider a few factors: the light source in the area where it will be placed, its proportion in relation to the furniture and other elements in that space, the colour of the background, and so on. Small artwork on an overly wide wall, or large artwork in a congested space, can look out of place."
Placement also matters more than most people realise. Art is often hung too high, perhaps in an attempt to appear dramatic. In reality, most works should sit roughly at eye level, with the centre of the piece around 145 to 150 centimetres from the floor.
Anjan points to another overlooked detail: transitional spaces.
"If there is a console table, it calls for a vase or artefacts, not just a painting."
Hallways, dining corners, stair landings and console tables are often neglected, even though they can become some of the most expressive areas of a home.
What Bangladesh's climate demands
Choosing art in Dhaka is not the same as choosing art in London or Copenhagen. Humidity, heat and intense sunlight all affect how materials survive over time.
Paper-based works are particularly vulnerable; high humidity can cause warping, mould and deterioration. Even framed works need UV-protective glass if they are placed in direct natural light, particularly near west-facing windows where the afternoon sun is especially harsh.
Palash suggests choosing durable materials suited to local conditions.
"Materials such as oil on canvas, treated wood, metal and certain textiles tend to perform better in our climate if properly maintained."
Anjan highlights another practical concern that homeowners often overlook: plumbing.
"It is better not to keep artworks on the wall beside a washroom, or beneath walls through which water pipelines run. If artworks are placed there, they require extra care and regular treatment."
The broader lesson is that art in Bangladesh requires maintenance. Proper ventilation, protection from direct sunlight and occasional cleaning are essential if pieces are meant to last.
Beyond the canvas
Bangladesh's craft traditions offer possibilities that many interiors barely explore. Nakshi kantha, with its detailed stitched narratives, can function beautifully as wall art. Rickshaw art, when framed thoughtfully, can work surprisingly well in contemporary spaces. Folk traditions such as patachitra add colour and rhythm that mass-produced prints rarely achieve.
Palash encourages homeowners to think beyond paintings altogether.
"Sculptures can anchor a foyer, courtyard or even a staircase landing. Textile art, such as Nakshi kantha or handwoven fabrics, can become wall installations or spatial dividers. Ceramics and pottery can be curated as part of shelves or display niches."
Anjan similarly recommends combining art with personal objects.
"I would suggest not just going with paintings, but incorporating other decorative elements as well."
A globe collected during travels, terracotta figurines, handmade pottery, books or an old camera can transform a room into something layered and personal.
The point is not that paintings are insufficient. It is that limiting art to framed canvases narrows the possibilities of what a home can express.
Where does a novice begin?
For someone unfamiliar with art, the instinct is often either to buy several things at once or to avoid buying anything altogether. Neither approach usually works well.
Palash's advice is simple,"Start with curiosity rather than confidence. Visit galleries, exhibitions and even online platforms. Spend time observing what draws your attention."
Over time, patterns emerge. You begin noticing which colours, textures, or forms consistently attract you, and that becomes far more useful than blindly following trends.
When it comes time to buy, it is better to begin with one meaningful piece rather than trying to decorate an entire house at once. A home that evolves gradually often feels more authentic than one assembled all at once.
There are trends, of course. Textured works, handmade ceramics and contemporary reinterpretations of local craft traditions are increasingly popular. Oversized statement pieces and sustainable handmade décor are also gaining attention. But trends alone rarely create emotional attachment.
"Trends should not dictate choices," says Palash. "Art is deeply personal. What matters most is whether a piece speaks to you — whether it creates a moment of pause in your everyday life."
That moment of pause is perhaps the real purpose of art at home. After long days in the chaos of the city, the walls around us should offer more than decoration. They should hold memory, emotion and personality. Whether it is the way light falls on a sculpture or the texture of a kantha hanging on a wall, the art we choose is often what finally turns a house into a home.
