He is, therefore seen to have created an art work world of his own, due to the fact that most his work remained hidden during and after his death in the year 1980.
Clyfford Still’s art work was mainly color field painting. Most of the works that he made accessible are regarded non-figurative, and consequently non-objective. Creation and painting of formations dominated his expertise, the primary concern being to juxtapose numerous colors and surfaces to produce the formations (Demetrion 75). His independence and disregard for criticism and analysis of his work left just a few aspects of comparison between his work and those of his fellow abstract expressionism pioneers. Basically, the arrangements of his paintings were considerably less regular, unlike those of other abstract expressionists.
Thick impasto critically defines the use of paints by Clyfford Still in his art work. Layers of colors in his works were done in a way that seemed to reveal colors underneath by other layers on the painting. Subtle varieties and shimmering shades characterized Clyfford Still’s painting surfaces, with natural forms and phenomena being predominant in his work (Demetrion 94). This was unique to him as an artist, because many other painters of his times concentrated on a totally different aspect.
Clyfford Still imposed collection and exhibition restrictions on his paintings, making his art work hardly accessible to many people, although his 1957-D No. 1, 1957 painting remains a renowned piece of his art (Demetrion 113). Around 2400 pieces of his art work remained hidden and inaccessible until the Clyfford Still’s museum was opened in Denver. With the museum opening over twenty five years after his death, Clyfford Still’s substantial art output remained unseen for the same period. Denver, Colorado became the choice of Still’s wife as the city that would showcase Clyfford Still’s long hidden art work.