"Jack the Dripper" (to drip: drip paint randomly on a canvas laid out on the floor) but also "Jack the pourer" (pouring: pouring from a punctured can of paint or a stick), "the all-over painter"," the action painter ","the ice-breaker ", "the infinite labyrinth "," the unlimited present"... The nicknames of Jackson Pollock (1912-1956) and adjectives to define his work are numerous. But Pollock has always been prudent on the understanding of his painting. The assimilation of his work to a gesture or a technique is in his opinion demeaning. Furthermore, it seems that he would have preferred the term of pouring (used to describe a rainstorm) to the term of dripping which would have further justified the abundant drippings and splashes that are characteristic of his work. To add richness to the pouring, Pollock will also introduce various materials such as pieces of string, gravel, broken glass fragments, cigarettes or nails with which he had fixed the canvas to the floor or on the wall that later become an integral part of the picture. Although it runs, splashes, drips, is superimposed… His painting is never chaotic. He says it emphatically while rejecting all assimilation to chaos. "Damn chaos", says he!  For Pollock has a global view of his work before even starting it, he controls his actions and rejects accidents. Exploring several Greco-Roman creation myths and those of other cultures such as the Primitives or Indians, he feels close to many American artists (Rothko, Newman, Baziotes...) who define themselves as creators of myth. These "myth makers "reactivate" in a time marked by the disintegration of traditional values, ​​the most traditional of all American myths: that of a story that takes place outside of history, in the innocence and virginity" (*). He then reaches the only myth that keeps paint alive: that of Genesis. The work has neither beginning nor end, it is a perpetual present. Thus, the choice of large formats, the surface several times swept and covered with networks of drippings that merge the colour and the line in a mastered internal structure, bring us to think of an approach with nothing comparable to decorative painting on easel. The painter and the paint have stepped out of the canvas, overflowed from the frame, gone beyond the boundaries of time and space ...(*)

In Revue Americana n°8 – Presses de l’Université Paris-Sorbonne

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