Jackson Pollock (1912 – 1956)
One of the leading artists and an influential American painter in the Abstract Expressionist movement, together with Willem de Kooning.
When I am in my painting, I am not aware of what I’m doing. It is only after a short of ‘get acquainted’ period that I see what I have been about. I have no fears about making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
Abstract painting is abstract. It confronts you. There was a reviewer a while back who wrote that my pictures didn’t have any beginning or any end. He didn’t meant it as a compliment, but it was. It was a fine compliment. Only he didn’t know it.
I don’t work from drawings and colour sketches into a final painting. Painting, I think, today – the more immediate, the more direct – the greater the possibilities of making a direct – of making a statement.
Most of the paint I use is a liquid, flowing kind of paint. The brushes I use are more a sticks rather than brushes – the brush doesn’t touch the surface on the canvas, it’s just above... [so] I am able to be more free and to have greater freedom and move about the canvas, with greater ease.
The idea of an isolated American painting, so popular in this country during the thirties, seems absurd to me, just as the idea of a purely American mathematics or physics would seem absurd... And in another sense, the problem doesn’t exist at all; or, if it did, would solve itself: An American is an American and his painting would naturally be qualified by the fact, whether he wills or not. But the basic problems of contemporary painting are independent of any one country.
Naturally, the result is the thing (in painting, fh) and it doesn’t make much difference how the paint is put on as long as something has been said. Technique is just a means of arriving at a statement.
A dripping wet canvas covered the entire floor... There was complete silence... Pollock looked at the painting. Then, unexpectedly, he picked up can and paint brush and started to move around the canvas. It was as if he suddenly realized the painting was not finished. His movements, slow at first, gradually became faster and more dance like as he flung black, white, and rust colored paint onto the canvas. He completely forgot that Lee and I were there; he did not seem to hear the click of the camera shutter... My photography session lasted as long as he kept painting, perhaps half an hour. In all that time, Pollock did not stop. How could one keep up this level of activity? Finally, he said "This is it."
My concern is with the rhythms of nature... I work inside out, like nature.
The important thing is that Clyff Still – you know his work? – and Rothko, and I – we’ve changed the nature of painting... I don’t mean there aren’t any other good painters. Bill is a good painter, but he’s a "French" painter. I told him so, the last time I saw him after his last show... all those pictures in his last show start with an image. You can see it even though he’s covered it up, or tried to... Style – that’s the French part of it. He has to cover it up with style..
I think they (the public) should not look for, but look passively — and try to receive what the painting has to offer and not bring a subject matter or preconceived idea of what they are to be looking for.. .and I think the unconsciousness drives do mean a lot in looking at paintings... I think it should enjoyed just as music is enjoyed — after a while you may like it or you may not. But it doesn’t seem to be too serious. I like some flowers, and others, other flowers I don’t like. I think at least it gives — at least give it a chance.
Modern art to me is nothing more than the expression of contemporary aims of the age we’re living in... All cultures have had means and techniques of expressing their immediate aims – the Chinese, the Renaissance, all cultures. The thing that interests me is that today painters do not have to go to a subject matter outside of themselves. Most modern painters work from a different source, they work from within.
Each age finds its own technique... I mean, the strangeness will wear off and I think we will discover the deeper meanings in modern art.
I accept the fact that the important painting of the last hundred years was done in France. American painters have generally missed the point of modern painting from beginning to end... Thus the fact that good European moderns (European artists who lived in the U.S. because of the Nazi-regime, fh) are now here is very important, for they bring with them an understanding of the problems of modern painting. I am particularly impressed with their concept of the source of art being the unconscious. These idea interests me more than these specific artists do, for the two artists I admire most, Picasso and Miró, are still abroad.
Well, method is, it seems to me, a natural growth out of a need, and from a need the modern artist has found new ways of expressing the world about him. I happen to find ways that are different from the usual techniques, which seems a little strange at the moment, but I don’t think there’s anything very different about it. I paint on the floor and this isn’t unusual – the Orientals did that.
I don’t care for 'abstract expressionism'... and it is certainly not ‘non-objective’, and not ‘non-representational’ either. I’m very representational some of the time, and a little all of the time. But when you’re painting out of your consciousness, figures are bound to emerge. We’re all of us influenced by Freud, I guess. I’ve been a Jungian for a long time... Painting is a state of being... Painting is self-discovery. Every good artist paints what he is.
My painting does not come from the easel. I hardly ever stretch my canvas before painting. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more a part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting. This is akin to the method of the Indian sand painters of the West.
The thing that interests me is that today painters do not have to go to a subject-matter outside themselves. Modern painters work in a different way. They work from within.
It came into existence because I had to paint it. Any attempt on my part to say something about it, to attempt explanation of the inexplicable, could only destroy it.