“On the floor I am more at ease, I feel nearer, more a part of the painting, since this way I can walk around in it, work from the four sides and be literally in the painting.”
-Jackson Pollock, 1947
Pollock, Jackson (1912-56), the chief American exponent of ACTION PAINTING, made studies for his apparently unpremeditated works, done on continuous lengths of canvas tacked to the floor, and later cut up with selective care. He abandoned the use of brushes in 1947, pouring the paint straight on to the canvas, but in 1953 he began to employ brushes again. He said of his paintings (1951):
‘I don’t work from drawings or color sketches. My painting is direct.. I want to express my feelings rather than illustrate them.. When I am painting I have a general notion as to what I am about, I can control the flow of paint: there is no accident, just as there is no beginning and no end.’
He used metallic paints and ordinary commercial synthetic enamel and plastic paint, with results that are already unfortunate. There are examples in London (Tate), Rio de Janeiro and many US museums.
Taken from ‘Dictionary of Art and Artists, by Peter and Linda Murray, 1959