dusseldorf

Robert Linsley

Felix Ringel

At first glance, Robert Linsley’s abstract images, reminiscent of the ’50s, seem harmless. But are they? They pose far too many questions for that. For example, how were they actually made? Are they the result of a technical process or of the artist’s handiwork? They seem too smooth to have been made with a brush. Could they have been airbrushed? Printed, perhaps with a computer? But then the color wouldn’t be so vivid. So what kind of paint is this?—too shiny to be oil, too dull to be enamel. And the forms of the colored areas raise more questions: Are they abstract, or do they depict something? Could they be, say, a computer-generated graphic representation of some statistical study?

In fact the muted colors of the red, black, brownish yellow, brown, pink, green, and blue violet forms were not applied with a brush or a palette knife, nor were they printed. They are products of

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