Number II A offers no central focus and no imagery. The canvas is instead filled with energy and movement where Jackson has submerged himself into the creative process.

This move into complete abstraction marked a major change for Pollock, catapulting him into the media spotlight. In 1949 , Life magazine ran a feature on him.

The article posed the question, Jackson Pollock – Is he the greatest living painter in the United States?. Pollock became a hotly debated topic with opinion divided. Couldn't anyone could throw paint at a canvas and get the same results?

It would be easy to think that Pollock's paint splattered canvasses were created in an entirely uncontrolled way. In reality, these paintings were the result of complete immersion in the creative process.

Canvas was laid on the floor and emulsion paint poured, dripped and splattered over it. Jackson almost danced around the canvas: moving paint here, adding some there.

Trowels, sticks, basting syringes and perforated paint pots were used to apply and move the paint. In Jackson's words, “It doesn't make much difference how the paint is put on as long as something has been said. Technique is just a means at arriving at a statement'.

Pollock's paint drips definitely made a statement and left a legacy to both the art and fashion world. His 1951 exhibition at the Betty Parsons Gallery became the backdrop for a stunning Vogue photo shoot.

Since then, his abstract art has regularly appeared on the catwalk with designers such as Dolce and Gabbana, Alexander McQueen and Thom Browne adorning boots, dresses and shirts with Pollock's iconic paint spatters.