Anyone can make a Jackson Pollock painting, right?
Jonas Mureika, chair and professor of physics at Loyola Marymount University, examines what physics has to say on the matter.
Faculty Bio:
Jonas Mureika serves as chair and professor of physics at Loyola Marymount University. Mureika spent much of his academic training at the University of Toronto, where he earned his B.S. in astronomy and physics and Ph.D. specializing in theoretical cosmology. He also holds an M.S. from the University of Waterloo where he studied particle physics.
His research is focused on modified theories of gravitation, from implications for early universe cosmology, to micro black hole formation in high energy particle collisions. One such proposal that Mureika has helped advance is the idea that at high energies, the effective dimensionality of space decreases. A novel implication of this theory is that the universe was effectively one-dimensional in the moments following the Big Bang.
Mureika is currently interested in the observational signatures of quantum gravity that might arise in future experiments, including LIGO gravitational wave detections, and imaging of supermassive black holes through the Event Horizon Telescope. He has also spent years analyzing Jackson Pollock’s art through fractal and lacunarity analysis.
Transcript:
20th-century abstract expressionist Jackson Pollock is most well-known for his pour paintings. Though highly regarded in the art world and a household name, many people have wondered: “Is his technique random?” “Can’t a child do that?”
There are many fascinating aspects of Pollock’s work, but one of the most striking is the fractal patterns consistent throughout. Fractals exist everywhere in the natural world: in coastlines, lightning, and plants, to name a few, and can be mathematically analyzed to understand the physics that made them and how the structure will evolve over time.
A group of physicists, psychologists, and I studied the paintings of adults and children ages 4-6 to distinguish whether artistic style is defined by age and how to differentiate paintings made by the two groups, allowing us to understand not just Pollock, but how to distinguish between any artists’ work at a mathematical level.
We used fractal and lacunarity analysis – the measurement of clusters and gaps between them – techniques used in astrophysics, geophysics, biology, and beyond, to examine the artwork. We found that age and biomechanics create distinct artistic signatures, with factors such as balance, height, and vision producing statistically different patterns. Children produce smaller fractal dimensions – less clustering of fine structure, and larger lacunarity – more gaps between clusters, while adults demonstrate the opposite.
As part of the study, we analyzed Pollock’s “Number 14,” finding that the lacunarity and fractal measurement resembled those in the children’s paintings more closely.
For decades, people have questioned Pollock’s legitimacy, yet his paintings are more complex than they appear when examined mathematically. Pollock’s work teaches us many things, but what is particularly fascinating is how his paintings show us that age, balance, and how you move through space all leave traces that physics can interpret.
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