In homage to Jackson Pollock on what would have been his 106th birthday today. Here’s my pieces from 2017 in response to his late ‘black pour’ paintings. His wife and fellow painter Lee Krasner described this new aesthetic as “Painting with the immediacy of drawing”
Having created a number of visual pieces in recent months, many of which have been in response to, or using Jackson Pollocks later ‘pour’ paintings as a theme (see previous blog posts) I have been unsure as to the positioning of these pieces within a wider narrative of my current research concerns. Indeed, up to a point I have been unconcerned as to their apparent lack of conceptual context as primarily, they have acted as an outlet through which I have been able to tentatively feel my way back into some sort of a studio practice. Continue reading
Having recently visited the current Jean Michael Basquiat exhibition at the Barbican, London, I have written up a number of observations and reflections I had during my visit. The following piece expands upon many of these observations and reflections.
Experiments and studies through Jackson Pollock’s ‘pour’ paintings.
Having stumbled once again upon Jackson Pollock’s late ‘pour’ paintings whilst preparing an Art History lecture in which I will discuss his later – evolved style, I was immediately struck once again with their immediacy, rawness and fluidity of mark. Continue reading
The painting surface is a much more sparsely populated space with a more disciplined application of pigment. The tar-like black enamel paint (often applied using a turkey baster) pools onto, and bleeds into the un-primed canvas creating rich variations in texture and mark. Pollock’s wife, and fellow abstract painter Lee Krasner described these pieces as ‘painting with the immediacy of drawing… a new category’, a fitting analogy that closely captures the paintings direct and transient nature.
Painting with the immediacy of drawing: 15th March 2016
Painting with the immediacy of drawing:
There are some interesting elements arising from the continuous exploration and development of the ‘synthesis studies’:
One of the stand out exhibitions of 2015 was for me Jackson Pollock: Blind Spots at Tate Liverpool from 30th June – 18th October. Instead of offering another re-imagining of Pollock’s famed ‘drip technique’, the exhibition, as the title suggests, offered a valuable new insight into a period we are not so familiar with. Continue reading
I have always been deeply interested in the shared ‘processes’ between creative practitioners. An observation of the prominent role improvisation plays behind my painting practice led me to explore similar processes in other creative fields and equivalents between disciplines. Continue reading