Kicked the Can

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Medium
    • My tribute to Jackson Pollock

      Kicked the Can is the newest addition to my series, Visionaries: My Tribute to the Innovators of Fine Art. In this image, I honor the work of American abstract impressionist painter Jackson Pollock (1912-1956). Kicked the Can recreates Pollock’s 1952 work, Convergence.

      Knowing a thing or two about the abstract painting process, I imagine that there were pots of paints all over the floor of Pollock’s studio. Kicked the Can depicts the inevitable: a can of paint, kicked over and bleeding out, and of course not where the artist intended.

      About the Visionaries series

      Every museum store in the world carries postcards of their most popular works. I have dozens of these cards featuring every style of painting imaginable.

      In my new series, Visionaries: My Tribute to the Innovators of Fine Art, I explore the artistry of these painters - marrying their iconic images with both abstract backgrounds and ultra-realistic still life objects to create something entirely new.

    • What a joy this painting was to create! I used Pollock’s iconic splattering technique on both the background and the miniature reproduction of his painting. Just like Pollock, I had to create this painting on the floor, dripping, spattering, and flinging!

      The best part of Kicked the Can was trying to control the splatters of my postcard image to recreate the original painting. This controlled chaos was a creative challenge that kept me hyper-focused the whole time.

      The background is meant to look like the floor of Pollock’s studio. Just imagine: his floor would have had drips and splats of paint that had overflowed from canvases. Not to mention the odd shoe prints of paint made as the artist worked. (See if you can find where I stepped on the canvas in my shoes.)

      The can, the paint spill, and the blue tape were painted in an ultra-realistic style to almost give you a glimpse into Pollock’s workday.

    • All Richard Hall prints are limited edition and hand-signed and numbered by the artist.

      All of our prints are finished with a coating that protects the print and enhances light-fastness; we use the highest quality pigmented inks with an estimated lifetime of 118 years.

      Canvas giclées: Edition of 50 (for all sizes), signed and numbered on the back of the piece. Archivally mounted or stretched and hand-coated with protectant. Framed canvas giclées are hand-framed in our studio with an espresso-colored frame with gold-tone lip. Unframed canvas giclées should not be framed with glass.

      Paper giclées: Edition of 250 for 12” x 16” sizes; edition of 125 for 18” x 24”. Printed on high-quality, acid-free paper and comes with a hand-cut mat that fits into a standard-size frame. We recommend that you use a frame with glass to ensure longevity of your paper print.



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