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Beyond the Canvas: The Artistic Journeys of Pollock and guffogg

Written by Victoria Chapman,

Jackson Pollock and Shane Guffogg have each made significant contributions to art history through their unique studio practices, redefining the artistic process. Both artists have independently sought to reveal universal truths rooted in the collective unconscious. Pollock’s action-based painting connects with nature, exploring existence through spontaneous movement. Guffogg also draws inspiration from nature by immersing himself in the elements, capturing invisible moments that convey a sense of communion. Further, he incorporates techniques carried from the old masters, and honors historical and literary influences, focusing on time-based explorations. Despite their differing approaches, both artists strive to embody something precious and unique: a profound sense of presence within their work.

The creative journey of an artist is a layered exploration that requires deep attentiveness to the world and an ongoing dialogue with art history. This process involves recognizing influences from the past and exploring new possibilities for expression. Each artwork becomes a testament to the artist's personal truth, shaped by both conscious and unconscious elements. Shane Guffogg’s Still Point paintings, for example, have drawn comparisons to Jackson Pollock's action-based drip paintings.

Although Pollock and Guffogg come from different times, both have made notable contributions, advancing the conversation around the artistic process and the concept of the artist as a shaman. Pollock’s ground-based action painting embodies a connection with nature and a sense of freedom, exploring themes of existence and being. Guffogg’s work, inspired by nature, seeks to capture the eternal moment through influences drawn from literature, ancient civilizations, and quantum theory. His innate sensibilities inform his perception of existence. Pollock’s statement, “When I am in my painting, I’m not aware of what I’m doing... I have no fears about making changes, destroying the image, etc., because the painting has a life of its own” (MOMA), reflects a shared exploration of presence that aligns with Guffogg’s approach While Pollock’s paintings seek harmony with the natural world, Guffogg’s art turns inward, searching for a core stillness that embodies a unifying force within the universe.

Both artists incorporate physical movement into their creative processes, but their approaches differ. Pollock’s method involves moving dynamically around a canvas laid on the floor, using unconventional tools like pieces of wood, turkey basters, and dried paintbrushes to flick paint onto the surface. His rhythmic, fluid motion directly translates into the canvas, creating immersive works that evoke nature’s sounds and rhythms.

Guffogg’s movements are intentional and precise, reminiscent of Tai Chi and rooted in ritualistic practice. He works methodically from top to bottom or side to side, allowing gravity to guide him while using thin brushes to create controlled, layered lines that exude a serene, contemplative energy. His Still Point paintings emphasize order over chaos, with Guffogg purposefully blending the act of painting and meditation to find his core ‘still point,’ inspired by T.S. Eliot’s “Burnt Norton,” the first part of the Nobel Prize-winning poem Four Quartets.

“At the still point of the turning world. Neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement. And do not call it fixity, 
Where past and future are gathered. Neither movement from nor towards,
Neither ascent nor decline. Except for the point, the still point,
There would be no dance, and there is only the dance.”

Guffogg’s paintings possess a deliberate physicality. Due to his synesthesia, the artist perceives colors as musical chords, adding a unique auditory dimension to his visual art. Color is another key factor and what he does with it. His works have been examined layer by layer, revealing intricate, music-like symphonies. The theme of "observing the observed," central to Guffogg’s 2015 retrospective, echoes Krishnamurti’s philosophy that “the observer is the observed,” implying a unity between the observer and experience that leads to insight and transcendence. This unity is revealed through his dynamic use of line and color, coupled with his focused sense of being present in the work, free from desires or external needs.

Pollock’s work was a big part of Abstract Expressionism, and was rooted in Surrealist practices, blending freedom with automatism which Pollock succeeded pushing to new bounds of discovery based on his exploration of action-painting, a movement that focused more on the act of painting itself than on the final picture. His interest in Jungian psychology sought to tap into the collective unconscious through painting as an act of active imagination, also partly inspired by Surrealism and Andre Breton’s turning his creative process into a meditative practice led by his emotions and subconscious mind. Both Pollock’s and Guffogg’s art can be viewed as journeys toward universal truths, inviting viewers to explore deeper aspects of human experience.

Like Pollock, Guffogg’s studio practice incorporates elements of alchemy and a shamanistic approach. His deliberate and controlled process allows no space for randomness, drawing inspiration from T. S. Eliot’s Four Quartets. Guffogg’s works evolve into autobiographical landscapes that blend personal experience with universal truths, enriched by influences such as time and quantum theory. Additionally, the Old Masters, especially Rembrandt and da Vinci, inspire his art through their techniques. Guffogg’s use of multiple light sources and glazing techniques- up to 80 to 100 luminous layers on a single painting, creates a mysterious and profound visual depth. He sees himself as continuing the dialogue of art history, posing the question, “If Rembrandt were alive today, what would he paint?”

Through his Still Point series, Guffogg strives to transcend abstract expressionism and modernism, embracing a post-post-modernist vision that explores universal order. These paintings, often described as wordless poems, engage the unconscious mind and guide viewers to insights beyond language. The lines in his work pulse with life, balancing order and chaos. Each element is purposefully placed, forming a cohesive whole that reveals hidden dimensions of existence and elicits an emotional response. Guffogg believes that his humanity makes his work a form of realist painting, with abstraction serving as the subject matter. He describes each painting as evidence of his discoveries.

Pollock’s paintings, such as One: Number 31, 1950 and Number 1, 1948 at MOMA, are celebrated for their immersive quality, drawing viewers into networks of lines and textures. These works guide the eye across the canvas, creating depth and movement while exploring time and space. Guffogg’s At the Still Point of the Turning World – The Conscious Occupation of a Praying Mind similarly transports viewers to the present moment. Drawing from Eliot’s poetry, Guffogg’s titles and themes reflect the mysteries of time, seeking to capture the intangible essence of existence.

Senior curator Lee Spiro of Leslie Sacks Gallery , Los Angeles noted, “Color is by far the most prominent aspect of Guffogg’s paintings, expressed as an equation where the raw power of color is contained by the strength of pattern. The paintings project the primal force and coherent intelligence of nature experienced as an integrated whole. Guffogg’s painting also employs a modernist vocabulary in addition to his fundamentally abstract orientation. This can be seen in irregular linearity related to the automatic writing of surrealist Andre Breton and abstract expressionists Jackson Pollock and Robert Motherwell among others.”

Thierry Tessier, art historian and curator at Vanities Gallery in Paris, described Guffogg’s works as “abstract paintings woven with lines, flames, and threads that seem to unravel. Drawing from classical European painting, Guffogg patiently applies varnishes to create depth and space. His sensitive, colorful work offers a powerful yet delicate vision. Shane Guffogg, an internationally recognized artist, is undeniably one of the most promising figures in contemporary art.”

Junhwan Chang, owner of Gallery Chang in New York City, praised Guffogg’s work for its blend of two concrete ideals: “As a gallery owner, I consider an artwork's marketability, but it’s never the sole factor. Guffogg’s work embodies the qualities that make art truly valuable, blending depth with investment appeal without sacrificing meaning or originality. His approach transcends aesthetics; each piece is layered with complexity that resonates with both collectors and investors. Guffogg achieves a rare balance between cultural significance and financial potential, offering lasting value. This dual nature—as profound artistic expression and sound investment—makes his work a uniquely valuable addition to any serious collection.”

In essence, the works of Pollock and Guffogg, illuminate the profound potential of art to transcend boundaries and explore universal truths. Both artists demonstrate that the journey of artistic creation is not just a method but a path toward greater understanding—whether it be through the outward embrace of the world or the inward search for stillness. Their legacies remind us that art, at its most powerful, serves as a bridge between the tangible and the intangible, inviting both the artist and viewer into a shared experience of discovery and insight.

• victoria chapman, los angeles, november 12, 2024