Fig. 1. Summertime: Number 9A 1948, Jackson Pollock.<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />
Fig 2. Painting No. 1, 2005, Elaine Sayers
When I visited the Tate Modern for the first time, three years ago, it was Pollock’s Summertime, Number9A (see fig 1.) that attracted my attention. I recorded my first thoughts of this painting in my journal,
“This space is pulsing with energy; it is made up of endless filaments, tentacles, and flecks of paint, all springing and flying together. It felt like a star map, maybe the nerve paths of a brain or a tangled primeval forest. The feeling I have from this painting is uplifting, elating and a release into space.”
Looking back at that quote now seems ironic that I am now actually painting and photographing forests! I believe that my painting in Fig. 2 is greatly inspired by Pollock’s work. When comparing the two paintings there is a lot of similarity in the movement of the paint and the energy that has been put onto the canvas. This painting I created at the end of my first year in HND Fine Art. I submersed myself in painting that year and experimented using emulsion paints, acrylic paint, twigs, toy cars, sticks, in fact anything that wasn’t a paint brush to apply the paint! To create the painting in Fig 2, I used black and white emulsion paint, twigs and the wind to create the feel of outside. This painting worked for me because it was dancing before me, like the leaves on the trees, like the branches swaying over the canvas. The wind was in this painting. It reminded me of Pollock’s work and I was suitably satisfied with it.
 Journal of E V Sayers, 2003