The uniquely continuous paint trajectories served as “fingerprints” of his motions through the air. Even the traditional painting tool – the brush – was not used in its expected capacity: abandoning physical contact with the canvas, he dipped the stubby, paint-encrusted brush in and out of a can and poured the fluid paint from the brush onto the canvas below. Purchasing yachting canvas from his local hardware store, he simply rolled the large canvases (sometimes spanning five meters) out across the floor of the barn. Using an old barn as his studio, he started to perfect a radically new approach to painting. Friends recall the many hours that Pollock spent on the back porch of his new house, staring out at the scenery as if assimilating the natural shapes surrounding him (see Figure Figure1 1 Potter, 1985). The art world changed forever in 1945, the year that Jackson Pollock moved from downtown Manhattan to the countryside of Long Island, New York.
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