Christo and Jeanne-Claude paintings are an excellent example of works of art that successfully exhibited this concept of time and motion. While most painting requires careful handling of the brush, Jackson Pollock approach was unique because he did not use a brush directly on canvas. It is interesting to look at how Pollock was able to bring out time and motion in his unique approach to painting.
Diversion from the conventional way of painting helped Jackson Pollock tap into a new world of art. He fixed the canvas on the floor or wall, accessing it from four sides, he poured and dripped paint from a can manipulating it with sticks and knives (Serafini 63). As Pollock put it, having the canvas on the floor made it easy for him as he felt nearer and a part of the painting (Serafini 20). He was able to express his unconscious moods. It resulted in abstract expression through action painting often related to the surrealist theories (Serafini 63).
Jackson Pollock ingeniously incorporated the property of time and motion in his works. Through pouring, dripping, flicking and spilling, Pollock was able to put the effects he intended on his paintings (Serafini 28). Considering his painting of 1952 named the Blue Poles, the element of motion and time is very pronounced. One sees how Pollock used his paintbrush to drop and flick paint on the canvas (Serafini 28). The movement of the brush and the flicking action is quite evident in the way the paint is splattered on the canvas. The concept of time and motion is capture in this movement seen on Pollock’s work. The Blue Poles is, therefore, a two-dimensional painting that has the aspect of motion and time presented.
In visual arts, texture is a valuable element required for a successful work of art. Texture is the surface quality that is apparent on a piece of art work (Serafini 42). Identifiable through visual and physical qualities,