Zinsky
What have Samuel L Jackson, Usain Bolt, The Krays, Al Pacino and Jack Nicholson all got in common? Simple. They’re all ultra-cool and they’ve all gone under acclaimed new contemporary figurative artist, Zinsky’s brush. And boy, what cosmetic enhancements they’ve received as a direct result of the artist’s illustrative surgery. Which has visually rendered them even cooler than pre-op. but that’s what Zinsky does; take the best in their field – be it sport, politics, film, music or general popular culture – and pictorially reinterpret them courtesy of his eclectic and inspired use of colouration, slick visualizing and photo-liscious attention to exacting detail, ensuring that each and every one is etched to graphical perfection before they leave his table. Or rather, easel. Zinsky’s story is a indeed a novel one in this highly-charged, commerce-led world in which we live, whereby fate played a massive hand in him being elevated to the public’s conscience for his astonishing brand of contemporary portrait art in which he’s quickly gained a strong reputation and loyal following for.
Chance encounters don’t come any more opportunistically-forecast than when a leading art gallery owner overhears a customer’s conversation which bemoans the fact that her son’s art wasn’t, in her opinion, receiving the exposure which she believed it merited within the locality – and therein forging a shop window for his talents. Immediately the Lincolnshire Gallery’s owner, Mark Fisher interrupted her and engaged in a conversation about her son and his art, as he made it his business to take an interest and promote local artists. Fisher soon discovering that he was an exceptionally private young man who was unswervingly dedicated to his labour of love, and was convinced on the spot that he should afford this fledgling artist a chance to prove himself. With this in mind, Fisher challenged the artist to produce an oil painting of infamous indie-rocker and headline maker for all the wrong reasons, Pete Docherty, aware that he needed to determine whether or not the artist could turn around compositions quickly enough for commercial practices. He didn’t have to worry too much on this score, as the finished painting was delivered the very next day. That artist was Zinksy, a name that’s now synonymous with the procurement of fastidiously conceptualised and conceived pieces of soaringly capacious art that are being snapped up quicker than you can say; “Could you paint me a portrait of *Leonardo D……..”. Precisely.
*Di Caprio by the way, not Da Vinci.
Seriously, Zinsky’s work comes and goes like there’s no tomorrow, and historically speaking – or rather the short space of time in which the artist has taken to see his stock rise to unprecedented levels – potential buyers have been knocking at the art publishers’ doors to be at the front of the queue whenever Zinsky’s latest work has been revealed. There’s no denying that Zinsky’s work speaks for itself, which is no mean feat in this day and age, where more often than not the artist’s representatives, galleries and publishers have to do the footwork to draw in the clients. On a publishing note, Zinsky is currently signed up to one of the UK’s leading art publishing houses, DeMontford Fine Art, who have been helping secure even greater exposure for Zinsky and his body of on-going work. DeMontford’s Creative Director is Sara Hill, who issued the following statement when news of the collaboration first broke within the contemporary art world. Hill; “We are delighted to represent an artist of Zinsky’s stature. His remarkable portraits capture the essence of his subject in a way thatsets his work apart from that of hiscontemporaries, and in a world whereiconic art is in such great demand” going on to add; “We believe he brings something new andexciting to this hugely popular genre”. High praise indeed from people who understand the business inside out.
Chance encounters don’t come any more opportunistically-forecast than when a leading art gallery owner overhears a customer’s conversation which bemoans the fact that her son’s art wasn’t, in her opinion, receiving the exposure which she believed it merited within the locality – and therein forging a shop window for his talents. Immediately the Lincolnshire Gallery’s owner, Mark Fisher interrupted her and engaged in a conversation about her son and his art, as he made it his business to take an interest and promote local artists. Fisher soon discovering that he was an exceptionally private young man who was unswervingly dedicated to his labour of love, and was convinced on the spot that he should afford this fledgling artist a chance to prove himself. With this in mind, Fisher challenged the artist to produce an oil painting of infamous indie-rocker and headline maker for all the wrong reasons, Pete Docherty, aware that he needed to determine whether or not the artist could turn around compositions quickly enough for commercial practices. He didn’t have to worry too much on this score, as the finished painting was delivered the very next day. That artist was Zinksy, a name that’s now synonymous with the procurement of fastidiously conceptualised and conceived pieces of soaringly capacious art that are being snapped up quicker than you can say; “Could you paint me a portrait of *Leonardo D……..”. Precisely.
*Di Caprio by the way, not Da Vinci.
Seriously, Zinsky’s work comes and goes like there’s no tomorrow, and historically speaking – or rather the short space of time in which the artist has taken to see his stock rise to unprecedented levels – potential buyers have been knocking at the art publishers’ doors to be at the front of the queue whenever Zinsky’s latest work has been revealed. There’s no denying that Zinsky’s work speaks for itself, which is no mean feat in this day and age, where more often than not the artist’s representatives, galleries and publishers have to do the footwork to draw in the clients. On a publishing note, Zinsky is currently signed up to one of the UK’s leading art publishing houses, DeMontford Fine Art, who have been helping secure even greater exposure for Zinsky and his body of on-going work. DeMontford’s Creative Director is Sara Hill, who issued the following statement when news of the collaboration first broke within the contemporary art world. Hill; “We are delighted to represent an artist of Zinsky’s stature. His remarkable portraits capture the essence of his subject in a way thatsets his work apart from that of hiscontemporaries, and in a world whereiconic art is in such great demand” going on to add; “We believe he brings something new andexciting to this hugely popular genre”. High praise indeed from people who understand the business inside out.