With Jackson Pollock, paint was no longer simply applied to the canvas with a brush. It could be dripped, poured and splashed, while the movement of the artist's body became part of the painting process. The trajectory of the paint emerged from the interaction between gesture, gravity, distance and chance. Pollock fundamentally expanded the possibilities of how paint could reach the surface.

Helen Frankenthaler moved the process further away from conventional application. In her soak-stain method, highly diluted paint was allowed to flow into and become absorbed by the unprimed canvas. The surface was no longer merely a support onto which paint was placed; it became an active participant in the formation of the image. The behavior of the liquid medium and its relationship with the fabric became central to the work.

Morris Louis developed another form of this shift. His poured and stained paintings allowed highly fluid paint to move across and through the canvas, with gravity and the physical properties of the medium playing a decisive role. Rather than constructing an image through conventional brushwork, Louis created conditions in which the paint itself could establish the structure of the painting.

Gerhard Richter introduced yet another decisive change through his use of the squeegee. Instead of building the image primarily through individual brushstrokes, he could drag, displace, mix and partially remove entire layers of paint across the surface. The squeegee became a means of transforming the behavior of the paint after it had been placed on the canvas. Control and chance could operate simultaneously: the artist initiated and directed the process, while the exact result remained partly unpredictable.

In this approach, pigment is not merely applied, poured, stained or displaced. Its movement becomes the subject of active control.

The artist can influence the direction, pressure, speed, accumulation, dispersion and interaction of pigment through a sequence of deliberate movements. The process may contain unpredictability, but unpredictability is no longer simply something that happens to the painting. It becomes something the artist works with through continuous physical intervention.

This also means that Directing Pigment is not a fixed visual style. Two artists using the same principle could arrive at completely different results, because each could develop an individual way of directing pigment. The tool therefore becomes secondary to the method, and the method becomes capable of generating different artistic languages.

This distinction is particularly significant in oil painting. Oil paint has traditionally been understood primarily through its application: brushwork, layering, glazing, impasto, scraping and other established ways of placing and manipulating paint on the surface. Directing Pigment shifts the emphasis from the application of paint to the controlled movement of pigment itself.

It allows the medium to be investigated not only as something that carries color, but as a physical material whose movement, distribution and structure can be deliberately shaped. The resulting optical effects can move beyond what conventional application-based oil painting normally produces, creating new relationships between transparency, density, diffusion, surface and light.

In this sense, Directing Pigment is not proposed as another individual technique within the existing vocabulary of painting. It is proposed as an open method: a principle that other artists could interpret through their own tools, movements and intentions.

The tool does not define the method. The artist's relationship with the movement of pigment does.