Jackson Pollock and Dancing with Paint

The simple act of moving a canvass from its usual vertical position on the easel and placing it flat on the floor initiated a new creative process that would come to define much of Jackson Pollock’s most iconic work. These hallmark “drip paintings” were created by dripping, swirling and trailing paint directly from a paint can, or from sticks, brush handles and other tools, onto the horizontal canvass on the floor. Pollock created Summertime: Number 9A (1948) by developing multiple layers of pigment, streaked across the surface in an intricate network of colour and intertwining lines. Pollock remained physically separated from the painting during the process, with no contact between himself and the canvass. This allowed the fluid paint to take its form in the air before falling into place. Pollock’s technique involved physical movement around the canvass; freeing him to drip the paint from different directions, angles and heights. His dynamic motion has been likened to that of a dancer: the act of painting as a performance, giving rise to the term “action painting” 1 .

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