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Open a larger version of the following image in a popup: Fred Pollock, Thin Blue Line , 2004-10

Fred Pollock Scottish, b. 1937

Thin Blue Line , 2004-10
Acrylic on canvas
29 7/8 x 19 3/4 in
76 x 50 cm
Signed, titled & dated on reverse
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Born in industrial Glasgow in 1937, Pollock's painting career now spans over 50 years. A student of Glasgow School of Art from 1955-59, he was influenced by great abstractionists Jackson...
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Born in industrial Glasgow in 1937, Pollock's painting career now spans over 50 years. A student of Glasgow School of Art from 1955-59, he was influenced by great abstractionists Jackson Pollock, Henri Matisse and Hans Hofman. Upon moving to London shortly after, he was previewed at the Camden Arts Centre and showed his work annually from 1975-79 at the Stockwell Depot, an influential co-operative studio and exhibition space that gained international recognition as a centre for abstraction in Britain. He later taught at Brighton College of Art and Canterbury College of Art. In 1977 his work was included in 'British Painting 1952-77' at the Royal Academy. In the 80s Pollock began a series of solo shows at the Vanessa Devereux Gallery, London. In 1980 he was included at the Hayward Annual and, in 1982, a Serpentine Gallery Summer Show. His work is in numerous public and private collections, including the Arts Council and the Scottish Arts Council.

In 1984 Pollock was invited by Anthony Caro as guest artist at the Triangle Workshop in Mashomack, New York State. In the 90s he had solo shows at the Rebecca Hossack Gallery, London, as well as solo shows in Edinburgh, Amsterdam and Groningen.

Pollock stands out amongst the abstract painters of his generation for his sustained exploration of abstraction through highly-charged colour values. Colour is, in his words, the most important aspect of his paintings: "Starting from scratch it was a case of making marks on the canvas with no preconceived ideas to begin with, and just gradually by building up the paint a series of colours and marks would eventually cover the canvas. Then you would notice that things were beginning to happen in various areas of the canvas ... The colour had to be the main thing in the painting, the colour relationships, how colours related to each other".
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