inserted into sections of a loosely drawn grid. Each image existed independently of the others, yet their arrangement on the same plane, along with relationships of color, texture, and shape, force the viewer to associate them. Meaning, then, is intensely personal – another innovation of Gottlieb's paintings Surrealist biomorphism was one source for his Pictographs. For Gottlieb, biomorphism was a way to freely express his unconscious, in which he had become fascinated via [John] Graham, Freud, and Surrealism. Gottlieb also incorporated automatism – the painterly technique for Freudian free-association – was the method Gottlieb used to generate biomorphic shapes, which were forms spontaneously conceived in his unconscious . These biomorphic shapes were separated by the all over grid pattern, which served as the overall structure of the "pictograph" series. Gottlieb once said, "If I made a wriggly line or a serpentine line it was because I wanted a serpentine line. Afterwards it would suggest a snake but when I made it, it did not suggest anything. It was purely shape... ". These lines and shapes that Gottlieb used were easily interpreted to mean different things by different people. By 1950 Gottlieb observed that the "all-over painting" approach had become a cliché for American abstract painting. He began his new series Imaginary Landscapes he retained his usage of a ‘pseudo-language,’ but added the new element of space. He was not painting landscapes in the traditional sense, rather he modified that genre to match his own style of painting.Imaginary Landscapes are horizontal canvasses divided into 2 registers, one very active below a more contemplative upper one, set up a different approach to abstraction at mid-century. In 1955 Gottlieb remarked: I frequently hear the question, “What do these images mean?” This is simply the wrong question. Visual images do not have to conform to either verbal thinking or optical facts. A better question would be “Do these images convey any emotional truth?” Late in 1956 Gottlieb formulated the image that has become known as the “Burst” and spent most of the next 2 years working on this approach. He simplifies his representation down to two disc shapes and winding masses. His paintings are variations with these elements arranged in different ways. This series, unlike the Imaginary Landscape series, suggests a basic landscape with a sun and a ground. On another level, the shapes are so rudimentary; they are not limited to this one