Paul Jackson Pollock, morreu a 11 de Agosto de 1956 foi um pintor norte americano por quem tenho imensa admiração e, que é ainda hoje, uma das maiores referência do movimento expressionionista abstracto.
Como tudo o que poderia escrever sobre ele me parece menor, deixo-vos com uma das raras entrevistas que deu:
From: Jackson Pollock, "My Painting", in Pollock: Painting (edited by Barbara Rose), Agrinde Publications Ltd.: New York (1980), page 65; originally published in Possibilities I, New York, Winter 1947-8:
"I accept the fact that the most 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. (The only American master who interests me is Ryder.) Thus the fact that good European moderns 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. This idea interests me more than these specific painters do, for the two artists I admire most, Picasso and Miro, are still abroad...
The idea of an isolated american painting, so popular in this country during the thirties, seems absurd to me just as the idea of creating a purely american mathematics or physics would seem absurd...
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 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 round it, work from the four sides and literally be in the painting. This is akin to the methods of the Indian sand painters of the West.
I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass and other foreign matter added.
When I am in my painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the iamge, 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."
Amanhã pinta-se... bem, mal, não interessa, amanhã pinto o que sou, como sempre!