A 1953 oil painting by Jackson Pollock, featuring a blend of rigid totem-like forms and fluid, gestural abstraction.

Easter and the Totem, painted in 1953, belongs to a period where Jackson Pollock moved away from his signature drip technique to reintroduce figurative elements. The composition is divided into distinct vertical sections, suggesting a narrative structure that contrasts with his earlier all-over canvases. On the left, a dark, totem-like form stands in stark relief against a pale background. This figure possesses a rigid, carved quality, reminiscent of indigenous art forms that fascinated Pollock throughout his career. To the right, the canvas opens into a more fluid, gestural space. Here, Pollock employs sweeping black lines to define abstracted shapes, punctuated by areas of magenta, yellow, and green. These forms appear to suggest human figures or anatomical fragments, though they remain ambiguous. The interaction between the static, dark totem and the lighter, more active right side creates a tension that defines the work. The paint application varies from thin, calligraphic lines to broader, more opaque patches of colour, demonstrating his control over the medium even when working in a more spontaneous mode. This piece reflects the artist's interest in mythic imagery and the unconscious mind. By combining structured, symbolic forms with the raw energy of his earlier style, Pollock creates a dialogue between order and chaos. The work does not rely on traditional perspective, instead using the verticality of the canvas to organise its disparate elements. It remains a significant example of his transition during the early 1950s, showing a return to the figure while maintaining the expressive freedom that defined his practice.