1957, Gillian Ayres, Distillation -- Tate Britain (London)
From the museum label: Gillian Ayres applied her paints with rags and brushes, and by pouring from the can and squirting from the tube. Influenced by photographs of the US painter Jackson Pollock making his drip paintings, she worked on this painting while it was flat on the floor. Ayres kept the paint fluid by blending it with turpentine, allowing her to manipulate it rapidly and spontaneously. She was interested in 'the idea of no composition', balancing shape and colour without hierarchy 'so that nothing is more important than anything else'.
1957, Gillian Ayres, Distillation -- Tate Britain (London)
From the museum label: Gillian Ayres applied her paints with rags and brushes, and by pouring from the can and squirting from the tube. Influenced by photographs of the US painter Jackson Pollock making his drip paintings, she worked on this painting while it was flat on the floor. Ayres kept the paint fluid by blending it with turpentine, allowing her to manipulate it rapidly and spontaneously. She was interested in 'the idea of no composition', balancing shape and colour without hierarchy 'so that nothing is more important than anything else'.