Sound and rhythm in action painting

The perception of Action Painting, shaped by the concept of agency, progresses from Jackson Pollock to the present day, and is divided into sections based on the concepts it encompasses. While advancing with the same purpose but different approaches, it has successfully formed a "planned painting" out of an apparent lack of planning. This "unacceptable plan" reflects itself in the paintings through spontaneous sound and rhythmic effects, ultimately gaining acceptance. By incorporating psychology into the action, it associates art and artist without aiming to connect them through colors, yet colors have become an integral part not only of the painting but also of the action itself. Action Painting is an important existential movement driven by the concept of action, continuing the pictorial transformation of modern art. Until reaching the 21st century, this movement has undergone transformations but has remained free from being judged like other movements. It is open-ended and entirely individual in duration. The content of this thesis focuses on the rhythmic elements intertwined with Action Painting, connecting them to sound and performance. It investigates how the sound element is inherently part of Action Painting and how this relationship is conveyed through rhythmic colors and components.