“Action Painting” is really a expression used to explain artworks where artists apply paint freely and spontaneously, to create compositions that highlight colors, textures, and patterns. Those things of applying paints freely and spontaneously would be the primary concerns of the Acrylic Pouring. Resulting artworks would be the lasting, relics of free-form, substance motions. Some artists declare that vague feelings or abstract expressions are participating.
Drip, Drop, Splatter And Run
American artist, Jackson Pollock is most likely probably the most familiar action painter who produced his famous works throughout the 1940’s and 1950’s. Pollock grew to become broadly known within the ’50’s for his “drip works of art”, where he applied liquid paints to large bits of canvas cloth he laid flat and walked around, using hardened brushes along with other implements to drip, splatter or curl falling posts of liquid into various designs.
In most cases of creating his action works of art, the motions of actual fluids eventually stopped, visiting rest as dry artifacts within the initially wet substrates. These dry artifacts could hold on walls as “finished” products.
In comparison, I’m a painter who handles works of art which are never “finished.” I cope with original artworks that can’t exist as nouns within their original substrates. The initial materials of my art require that observers view their existences as continuous verbs.
This stuff, within their liquid states, therefore can’t ever hold on walls. The only real possible lasting artifacts of the active forms are photographs. My photographs capture peak moments of lovely patterns that disperse rapidly. I call this kind of painting through the name, “fluidism.”
Characteristics From The Style
Fluidism involves anomalies from the art world that couple of people fully recognized prior to the invention of cameras. Ancient Chinese clergymen had some understanding of those phenomena, however the clergymen couldn’t record the phenomena that just cameras can record today. The clergymen used grain paper to imprint designs brought on by ink’s scattering in pools water. Again, these artists taken dry patterns.
I, however, capture wet patterns. My camera is a lot more effective than grain paper, able to allowing me to see deep within liquid mixtures throughout their most fragile, perfect moments of change. I record these natural types of nature shortly before they disappear forever.
Because the ancient Chinese clergymen did, I frequently begin with a swimming pool water. Much like Jackson Pollock, Then i drop acrylics and mineral oil in to the mix. Sometimes I add colored oils, glycerin or egg-whites. My primary canvases are liquid surfaces. My primary technique includes improvisation, observation, trial, error, and demanding overview of the pictures I capture.
World As Artist
I allow forces and motions from the wet substances themselves to produce the patterns. I setup containers, viscosities along with other conditions for flow. Available sunlight is my illumination. My tools contain a movie camera, a tripod, and also the best 35mm color slide transparency film I’m able to find. Following a photo lab develops the colour transparency film and helps to create digital scans on the picture CD, I further boost the images slightly for contrast and color.