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In Painter’s Floor, 1999, Malcolm Morley paints the studio floor of the famed abstract expressionist, Jackson Pollock. Working from a photograph, Morley precisely describes the stray drips, marks, and paint stains along with the grain, knots, and nails of the wood flooring left behind by this painter of the “drip.” By meticulously reproducing what has become an artist’s shrine and a symbol of Pollock’s unique method of working, Morley celebrates the beauty and influence of Pollock and asks the viewer to see the floor as a work unto itself. However, by doing this in an opposing style, Morley questions customary assumptions about Pollock. Does Pollock’s work spring from his angst or from painterly intelligence? Is his myth more provocative than the paintings themselves?
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