Consciously or unconsciously, Pollock was imitating the patterns of nature. Jensen contrasts this with the abstract work of Kadinsky, with its harsh Euclidean geometry of triangles, lines and other shapes confined in the frame of the painting. Pollock's fractal style makes his paintings open and 'frame-less', Jensen argues. Like walking through a forest, the viewer expects that the scene must be continued outside the field of view. Jensen ranks Pollack's immense canvases alongside other 'open' paintings, such as Turner's 'Snowstorm'.
Scientists are also nearer to uncovering the techniques that Pollock used.
Paint simply poured in a line makes a smooth streak that has none of the complex fractal edges and undulations of Pollock's work. Pollock was known to have swung his paint back and forth like a pendulum, using a can on the end of a string with a hole punched in it. The artist had no idea of fractals or chaotic motion. Of course, none of this approaches the innate brilliance of Pollock's work.