Painting’s explanation:
“Paying homage to Michel Tapie, this work employs the ‘spot and blotch’ technique the late French critic wrote about and enjoyed so much. ‘Spot and Blotch’ was first used by the original members of the American abstract expressionism movement (1950′s); but even as relatively new as the technique may be, examples of a primitive form of ‘spot and blotch’ were found in the cave paintings of Lascaux, France.”
http://www.saatchi-gallery.co.uk/yourgallery/artist_profile/Freddie+Linsky/7635.html
This artist has shown at various galleries — recent showings in both Boston and Florida. At least one collector spent $40 on an original abstract expressionist painting, according to London’d Daily Mail. A gallery in Berlin has made various inquiries into other works by Linsky. Freddie is a 2 year old whose mom has uploaded his canvases of ketchup splotches and crayon onto Charles Saatchi’s online gallery. Here is her “About the Artist” from the artist’s profile:
“Freddie W. R. Linsky paints over and over, making us curious to know what is going on. It seems that one stroke is being repeated – the same stroke or one very close to it, hence the possibility of the infinite opening up of the structure of time.
This repetition perfectly renews the painting itself, as an experience of time, and space too. Identifying with the space of history, Freddie engages in the task of painting European art over-and-over again. Placing periods, movements and centuries into a fragment ironically leads to repetition. Every stroke greatly reinforces the preceding one, and yet wants to be wholly boldly new – that is, distinct to the earlier stroke.
Amid this multiplicity of relativity there is a rendering of effectual quiet between marks; between understatement and apparent furnishing assured tone. This abstract fluctuation links the all-over and focused space.
Given to the linear so that movement enters, the implication that space is mobilized begins to escape the lines as colour is flattened. Thus giving an ambiguity that is the figure and the ground. Yet all show a distinct compression of motif toward the top – that is, they have a right side up.
Reinvesting its grasshopper like strokes and semi-kaleidoscopic pattern, movement directs requisites of pace, direction and discontinuation. This persuades yet another interest in the solidity of time.
The colours are highly artificial; they are really cosmetic, consciously false. They are flirtatious and psychologically associated with ambiguity. This implies that the expression is not to be believed. ”
Hard to know who has more talent — child (art) or mother (definite way with words!). Emma has been working on many new “pieces” in her class….hmmmm…
