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I don't work from drawings and colour sketches into a final painting. painting, i think, today - the more immediate, the more direct - the greater the possibilities of making a direct - of making a statement.

-Jackson Pollock

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I Don't Work From Drawings And Colour

Jackson Pollock

I don't work from drawings and colour sketches into a final painting. painting, i think, today - the more immediate, the more direct - the greater the possibilities of making a direct - of making a statement.

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    <p style="font-size: 1.2rem; font-style: italic; margin-bottom: 10px;">"i don&amp;#039;t work from drawings and colour sketches into a final painting. painting, i think, today - the more immediate, the more direct - the greater the possibilities of making a direct - of making a statement."</p>
    <footer style="font-size: 1rem; font-weight: bold;">— Jackson Pollock</footer>
    <p style="margin-top: 15px; font-size: 0.85rem;"><a href="https://www.pjdigitalmarketing.com/quote/i-don-t-work-from-drawings-and-colour-sketches-into-a-final-cas4k" style="color: #8b5cf6; text-decoration: none;">View this quote on Www.pjdigitalmarketing.com</a></p>
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Topic

Thinking Drawing Finals

More From Jackson Pollock

I think that one wants from a painting a sense of life. the final suggestion, the final statement, has to be not a deliberate statement but a helpless statement. it has to be what you can't avoid saying.

All intervening steps, scribbles, sketches, drawings, failed work models, studies thoughts, conversations, are of interest. those that show the thought process of the artist are sometimes more interesting than the final product

I wouldn't know what to do with [colour]. colour to me is too real. it's limiting. it doesn't allow too much of a dream. the more you throw black into a colour, the more dreamy it gets… black has depth. it's like a little egress; you can go into it, and because it keeps on continuing to be dark, the mind kicks in, and a lot of things that are going on in there become manifest. and you start seeing what you're afraid of. you start seeing what you love, and it becomes like a dream.

I first came up with the idea for the colour-chart pictures back in 1966, and my preoccupation with the topic culminated in 1974 with a painting that consisted of 4,096 colour fields. initially i was attracted by the typical pop art aestheticism of using standard colour-sample cards; i preferred the unartistic, tasteful and secular illustration of the different tones to the paintings of albers, bill, calderara, lohse, etc.

I really believe that an awakening, a greater perspective on our lives and existence is happening. it's really the firing of archetypes that are already built into our brains, we just are able to awaken to a point where we can see a greater beauty in the world, a greater connection and sense of well being. this is what the mystics speak about. the insights fire us up into a greater consciousness on the planet. so it is a greater consciousness at the same time and a greater awareness of our spiritual nature. that is what the 'aha' is.

I know i draw without taking my pen off the page. i just keep going, and that my drawings i think of them as scribbles. i don't think they mean anything to anybody except to me, and then at the end of the day, the end of the project, they wheel out these little drawings and they're damn close to what the finished building is and it's the drawing.

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