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Special “Eye” to Watch
June Mattingly // contributing art writer

Billy Zinser

“My work is defined by a cartoonish approach to non-objective abstract painting intended to
address color, line, and shape as the subject matter of the work, through simple gestures and
automatic mark making.”
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“PULP,” 2010, oil on canvas, 20 x 20 inches
“THING,” 2010, oil on panel, 24 x 24 inches

Almost concurrently Billy Zinser recently became one of the recipients of the Dallas
Museum of Art’s juried Arch and Anne Giles Kimbrough Fund and opened
side-by-side cartoonist Jeremy Smith in a show through August at Public Trust, a
gallery in downtown Dallas specializing in the newest talent. My acquaintance
with Billy until seeing his work on display was limited to his excellence as assistant
director of the Marty Walker Gallery. How lovely when one realizes a friend is also
a proficient “non-objective” abstract painter, non-objective being his term in
referring to his rendition of the abstract.
In conversing with Billy his determination to keep an unswerving direction in his
even more serious side career-wise is easy to detect. Through his willingness to
“preserve each painting and work it until it feels right” he’s evolved a rhythmic
brushstroke style all his own of building up thick swerving layers of contrasting
colors of paint to form together flowing, sensual forms. “I don’t know what the
end result looks like unlike a landscape or portrait…it can take seven months
to one month for my process.” He advises other artists to exercise their “creative
muscle,” and adds sometimes when he paints over a painting he thinks “is
already satisfactory and then made it better.”   
Billy’s education includes studying abroad, one year at the Art Institute of
Chicago and a BA from the University of Texas in Austin.
Installation at Public Trust, Summer 2010

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