Bergson makes sense of Pollock

Hans Namuth, the photographer, writes about his visit to Jackson Pollock's studio:

"A dripping wet canvas covered the entire floor … There was complete silence … Pollock looked at the painting. Then, unexpectedly, he picked up can and paint brush and started to move around the canvas. It was as if he suddenly realized the painting was not finished. His movements, slow at first, gradually became faster and more dance like as he flung black, white, and rust colored paint onto the canvas. He completely forgot that Lee and I were there; he did not seem to hear the click of the camera shutter"

Referring to his "drip" style, Pollock states, “I feel nearer, more a part of the painting, since this way I can walk round it, work from the four sides and literally be in the painting. This is akin to the methods of the Indian sand painters of the West.” Pollock objected to the term "accident". His work, a mixture of controllable (his body) and uncontrollable factors (paint viscosity, canvas absorption and gravity) is a beautiful metaphor of Life's chaotic nature. But it's "a part of the painting" that keeps one thinking. Namuth points out Pollock's accomplishment: "He has managed to free the line from its function of representing objects in the world".

Pollock's paintings are the closest artistic reflection of a human's innards because 'representation' doesn't come in the way ! It is pure expression. Just as Bergson argues that words are labels clouding experience, unable to express objective reality or our deep psyche and suggests immediacy and intuition as means to access the 'real', Pollock echoes his thinking in paint: Authentic art is the immediate coincidence with what is - a dimension away from the mental fantasies we dip reality in - It's an unveiling of reality itself and a vision of what is beyond our daily worn out symbols.