Documenting the painter in the act of painting is not a new idea: think of Hans Namuth’s controversial 1951 film of Jackson Pollock at work. While Shackleton’s video distantly references the ontological structure of Namuth’s film, her paintings clearly borrow from Pollock’s now-mythical mode of painting. In Shackleton’s work, Pollock’s “drip” technique, where he quite literally dribbled and splashed paint onto the canvas, is resuscitated for the modern day. Each canvas is affixed to a rotating wheel mounted on Shackleton's studio wall, allowing her to spin the canvas by hand to control the blanketing streams of paint poured from run-of-the-mill plastic sauce bottles. Using water to control the viscosity and speed of the drips, the intrinsic properties of gravity are embraced as an aesthetic device, as is the cosmic significance of the accidental.