Jackson Pollock’s collected statements present modern painting not as a refinement of inherited pictorial conventions, but as a decisive reorientation of artistic agency towards immediacy, bodily action and experiential necessity. In his 1944 statement, Pollock rejects narrow national or regional definitions of art, insisting that the painter’s problems are not confined to “American” themes but belong to the broader modern condition; this already positions his work beyond illustration, folklore or stylistic patriotism. By the later statement from Possibilities, he clarifies the technical and philosophical consequences of this position: he prefers an unstretched canvas placed on the floor, abandons the easel, palette and brush when necessary, and employs sticks, knives, trowels, sand, broken glass and other materials in order to enter the painting rather than merely face it . The resulting practice is grounded in gestural immediacy, because composition no longer proceeds as a distant arrangement of forms but as an event generated through contact, movement, rhythm and controlled accident. The case study implicit in these statements is Pollock’s floor-based method, where painting becomes a field of action: the artist moves around and within the canvas, allowing line, colour and matter to register the continuity between body and image. Yet Pollock is not advocating chaos; he repeatedly distinguishes apparent freedom from mere accident, stressing that he can control the flow of paint and that no beginning or end is needed once the work finds its own internal life. De Kooning’s adjacent reflections sharpen this argument by rejecting rigid categories of abstraction and figuration, suggesting that modern art’s vitality lies in changing the artist’s relation to reality rather than in obeying formal labels. Pollock’s conclusion is therefore one of processual painting: the modern picture is not a window, object or decorative surface, but a lived arena in which material, gesture and consciousness become inseparable.