Unlike the traditional landscape format, Pollock’s paintings are oriented vertically. Instead of a horizontal vista that favors ground or sky, Pollock’s works are often symmetrically bifurcated by a strong central plant-like form in his Plant And Planet compositions. There is a sense of viewing the plant forms on a Z-axis, or rather over time intervals as opposed to a singular moment in nature being recorded. His saturated colors and bright schemas are at times more symbolic than literal. Reds and yellows seemingly indicate growth and life, while blues can be read as representative of the incremental patterns measuring and giving shape to planes and voids. In leveraging and nurturing these color relationships, Pollock expresses motifs of the metaphysical and the innate.

Conversely, a pattern of evenly handled shapes stretches across the entire pictorial field and beyond in Pollock’s Ciphers series. Conventions of landscape painting, such as emphasis on pastoral detail, are subverted for something more standardized in these works. Varying formulations of structure, such as spirals, rings, and cells, build painted atmospheres through uniformity, drawing attention to the similarities found in objects of nature. Simultaneously, Pollock pays homage to the natural phenomena’s unique complexities through techniques of rescaling and recombining aspects of their fundamental geometric forms. Pollock’s efforts embrace the idiosyncrasies of the micro within a macro perspective, fostering an awareness of both the volatility and order to the world surrounding us.