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This article analyses the contemporary pictorial practice of making spilled paint the sole protagonist of the work. In taking a journey through art history, it reviews conventions of representation that have sought to conceal the materiality of painting, the artists who openly depicted it, and those who, ultimately, presented it explicitly, without artifice or intermediary supports. Similarly, the possible history of this practice is traced, with the American artist Lynda Benglis being identified as an essential point of reference. The article also aims to demonstrate that the traditional medium of painting not only survives in the digital age, but also claims a space for itself in contemporary art by presenting itself in its most elementary state.

Pisando charcos. La pintura sin soporte en el arte contemporáneo