During the winter of 1946–47, Pollock instituted a new way of creating paintings. Moving around the unprimed canvas, which was laid flat on the wooden floor of his Long Island studio, Pollock poured, splattered, and dripped paint and enamel using his entire body in the process. This approach reinvented the methods and tools of traditional easel painting and came to be known as Action Painting, a style that demanded the total physical involvement of the artist. Pollock’s all-over style of painting avoided any points of emphasis producing intricate interlaced patterns that reflected Pollock’s gestures and movements around the canvas. His paints were thinned so they would flow more readily. Using sticks, basting syringes, and dried-out brushes, he worked from all sides, creating an edge-to-edge network of looping lines. Pollock explained, “On the floor I am more at ease. I feel nearer, more a part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.”