Morphism yields an excellent opportunity to revive the method of drip painting without simply copying the art of Jackson Pollock.

The process of painting itself with its energetic motion remains unchanged. It is to the most part governed by the law of randomness. But this time it happens within a framing edge that assumes significance. Unplanned immediacy and direction suddenly cohere with a defined flat space of meaning.

For example, the paint resembling an intricate network of chromatic lines on a painterly blue ground can be viewed as an image of the microcosmic world. Simultaneously, the adapted shape of its boundary intimates a representation for the macrocosm. The free flowing contour of the canvas’ edge imposes a vision of endlessness and expansion on the viewer. Presuming the lines in the picture plane are wholly non-objective (this mayor may not be the case - even Jackson Pollock in his later works adopted figuration to them), the artist, through the design of the canvas is provided the option to suggerate a subject matter to his work. This is an unsuspected degree of freedom that Morphism grants to the artist even before the process of pouring and scattering itself begins, and the resulting work is suited to render a statement beyond the historical endeavour of action painting.