Each lies right next to five
small drip canvases also from 1950, hung in columns, like Abstract Expressionist totem poles or African sculpture.
Not exact matches
Kurchanova writes: «Apart from large
canvases covered by Pollock's signature all - over web of patterned,
dripped or sculpted paint, a range of his
smaller abstract paintings adds complexity to our understanding of his work as that of an «action» painter... Pollock's active engagement with printing presents his achievement as a painter to us from a completely different angle and complicates the understanding of his work as based in physical action and unmediated involvement of the artist's hand.
In order to remind a viewer of the authenticity of his paintings, Jirapat includes fine
drips of paint, generally in
smaller areas of the
canvas, to elevate the painterly quality.
Within the grids and lines on the
canvas are not
small squares of flat, immobile color, but
drips and dimples of very active paint — as if each square could also be a composition unto itself.
A
small work might place a tree trunk at the center, while the networks of tree limbs, rocks, streaks of light, or ripples of water in his large paintings have much in common with the weave of a
drip painting or of the
canvas itself.
An unusually heavy impasto of lines,
drips and dots are applied atop the
canvas and on another until vivid repetitions of color lay way to waves, cascades and
small explosions of pure paint.
Wood # 4emits surprising power: despite its
small size, repetitive composition, and understated facture, it embodies her pursuit of exhaltation and ecstasy, expressive qualities she admired in Jackson Pollock's huge
dripped canvases.
Certain aspects of the brushstroke and the slight
drip appear again in Reed's more recent paintings, such as # 628 which has a
small rectangle inset in the larger horizontal rectangle of the
canvas.