David Linberg’s work are an interesting answer to the problems of today’s non-figurative painting. It is difficult to classify his work in which colour is veiled by transparency.
In order to create them, this forty-five year old American artist, who now lives in The Netherlands, uses and develops ductile materials: foam rubber, epoxy resins, glass fibre, oil paints, pigments. All of these allow him to work directly with his hands and with non-professional, ready-to-hand  tools: small knives, screwdrivers, awls.
His aim is to highlight three-dimensionality through allusions to the television screen, allusions resulting from his combinations of light and colour. Lindberg is attracted to this from a conceptual point of view: by images that move and are superimposed, and by the composition and decomposition of pixels. In this manner he manages to enter within the very flow of colour.
His works are closely linked to the everyday, to what surrounds him. “His idea of time is linked to a sense of journeying, of passages”, Angela Madesani has written in the exhibition catalogue, “as can be appreciated by whoever manages to enter into the situations he proposes, blocked as they are in resin: in this way a personal memory becomes a collective one. Lindberg’s interests do not offer concrete answers but, rather, propose questions that highlight the many aspects and the complexity of existential conditions.