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Pollock continued rigid lines and often settling in a heavy frown. A Pollock painting is not born easily, but comes into being after weeks, often months of work and thought. At times he paints with feverish activity, or again with slow deliberation. After some years of preparation and experimentation, during which time he painted his pictures on an easel, Pollock has developed a method that is unique and that, because of its newness, shocks many. He has found that what he has to say is best accomplished by laying the canvas on the floor, walking around it and applying the paint from all sides. The pain - usually enamel, which he finds more pliable - is applied by dipping a small house brush or stick or trowel into the can and then, by rapid movements of the wrist, arm and body, quickly allowing it to fall in weaving rhythms over the surface. The brush seldom touches the canvas, but is a means to let color drip or run in stringy forms that allow for the complexity of design necessary to the artist. Open cans of paint ready for use fill one end of the studio barn (photo by Rudolph Buckhardt). [[image]] In his recent show, at the Parsons Gallery, Pollock exhibited a very large work, titled Number 4, 1950. (Pollock used to give his pictures conventionally symbolic titles, but - like many contemporary abstractionists - he considers them misleading, and now simply numbers and dates each work as it is completed.) It was begun on a sunny day last June. The canvas, 9 by 17 feet, was laid out flat, occupying most of the floor of the studio and Pollock stood gazing at it for some time, puffing at a cigarette. After a while he took a can of black enamel (he usually starts with the color which is at hand at the time) and a stubby brush which he dipped into the paint and then began to move his arm rhythmically about, letting the paint fall in a variety of movements on the surface. At times he would crouch, holding the brush close to the canvas, and again he would stand and move around it or step on it to reach to the middle. Within a half hour the entire surface had taken on an activity of weaving rhythms. Pools of black, tiny streams and elongated forms seemed to become transformed and began to take on the appearance of an image. As he continued, still with black, going back over former areas, rhythms were intensified with counteracting movements. After some time he decided to stop to consider what had been done. This might be called the first step of the painting, though Pollock stresses that he does not work in stages. He did not know yet when he would feel strongly enough about the picture to work on it again, with the intensity needed, nor when he would finally be finished with it. The paint was allowed to dry, and the next day it was nailed to a wall of the studio for a period of study and concentration. It was about two weeks before Pollock felt close enough to the