ABOUT
FREDERICK:
Frederick
is a character of two extremes. His individuality is perfectly
reflected in the surname he was born with. Although he comes
from Poland, his family has both Russian and English blood,
which is undoubtedly what lies behind the fact that he is
romanticism and pragmatism combined.
He is quick-witted, sharp, and a keen observer. With a head is
full of fire, he is far from humble. He is decisive and bold
when it comes to making decisions. At the same time, he is
open to the world around him, from which he draws his
aesthetic. He graduated in two fields, philosophy and human
resource management. Despite his success in his acquired
profession, at the age of 30 he gave it up for painting.
CREATIVE
STYLE AND THEMES:
At
the outset, fascinated by Impressionism, he observed the world
around him, immortalising the beauty of nature on canvas.
However, he quickly noted that there was little to distinguish
his work from the entire painting canon. It was then that he
came to the conclusion that the only way to truly define
yourself is to find an individual way of expressing your own
emotions and perceptions.
He discovered his unique style by chance. During his travels
to India, he saw a woman with her face completely concealed.
She was hanging out washing. Thank to her anonymity, she
seemed, to Frederick, to represent every woman who, regardless
of origin or colour, performs similar activities. That living
picture changed his perception of the world forever. Frederick
began to paint faceless figures in various situations. Some of
them happy, others steeped in sorrow. They all, however, have
one thing in common - each and every one is a mirror within
which one may find one's own reflection.
"Everyone is capable of being happy, of experiencing the
things they dream of, growing,
and progressing", he says. "Looking at the happy
figures in my paintings, the viewer has
no cause for jealousy. The figures have no face, they express
our own, personal nature. They show us that we can attain
everything that they are experiencing. It is enough just to
change places with them - and that is not difficult."
The cycle of figures that have emerged from Frederick's brush
over the course of the last few years has been dubbed The
Noughties. It is a name that teases in its perversity, since
the figures in his paintings are often perceived as 'naughty'
– incorrigible, coquettish and wholly flirtatious. Despite
both their facelessness and the fact that they are frequently
caught in the throes of ordinary, everyday, human activities,
they always give the viewer 'a wink'.
TECHNIQUE:
All
Frederick's paintings to date are oils.
His sculptures are created in clay, or combine clay with
stones or metals.
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ARTISTIC
FASCINATIONS:
Expressionism.
Herwarth Warden, Herbert Kühn, Paul Gauguin, Simon Garden,
Tomek Sętowski, Zdzisław Beksiński, Shakespeare, Marquez,
Bułhakov, Umberto Eco, Natalie Nothomb, Chopin, Beethoven,
Sumi Jo, Laura Claycomb and Natalie Dessay.
He lists such performers as REM, Depeche Mode, Pink Floyd,
Madonna, Britney and Mika among his favourite contemporary,
mainstream artists.
THE
ARTIST ON HIMSELF:
He
answers the question, "What am I like?" by saying
"I haven't got a clue what to say to that."
After which, in one breath, he modestly reels off a list of
such adjectives as "creative, highly sensitive, impetuous,
expressive, extrovert."
OPINION
AND APPRECIATION:
Frederick
has been gifted by Fate. On the one hand – talent; on the
other hand – the public's positive (and often downright
enthusiastic) reception of his work. Some perceive his work as
a Land of the Positive. Others maintain that his figures are
magical, mysterious and aggressive. Every one of his paintings
is provocative, while still giving the viewer space for his or
her own, personal interpretation - as in his latest painting,
Moonstruck. In the painting, the stately figure of a woman can
be seen, clad in a star-covered gown. Through the window, the
moon gazes down on her. People can debate whether the stars
have floated down on to the gown from the moon or whether they
are flying upward in the other direction. As ever, in
Rossakovsky-Lloyd's work, it is the sensitivities of each
individual person contemplating it which must provide the
answer.
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