The Realm of Objects and Ideas is an exhibition - released over multiple installments - completely dedicated to works on paper.
Through thoughtful selections and insightful pairings we aim to spotlight the protean qualities of the medium and its seemingly endless possibilities.
Over the previous three weeks, we revealed works by Robert Longo, Paul Noble, Adel Abdessemed, Ed Ruscha, Paul Kneale, Rebecca Salter, and Diogo Pimentão.
The fourth chapter of this exhibition will look at works on paper by Damir Očko and David Czupryn.
Anatomical metamorphosis and the endeavour of going beyond the temporal and dimensional boundaries of paper itself are at the core of these two artists' practices.
Damir Očko's collage series 'Calendar' featured in this exhibition comes as an expansion on the themes explored by the artist in his Venice Biennale Croatian Pavillion video works. Rather, this series moves beyond them, looking back at that experience with hindsight.
While Očko is probably best known for his videos, he moves nimbly across media: collage, music, drawing, poetry, and installation are all integral parts to his practice as a whole.
Through his work, which maintains a strong focus on the body, he discusses - in subtle and evocative ways - themes of violence and politics - as well as the relationship between the two.
In 'Calendar', Damir Očko looks back at the year of his participation to the Venice Biennale (2015). What proved as a rather traumatic year for the artist gives way to a moment of regeneration through colour: acknowledging the importance of remembering, instead of erasing.
David Czupryn's drawings similarly focus on the fluid relations between different media. Through his work, Czupryn develops a stimulating dialogue between drawing and sculpting, between the old and the new, between real and imagined.
In the works featured in The Realm of Objects and Ideas, Czupryn pays homage to two great 20th century sculptors: Alexander Calder and Julio Gonzalez. As both the great Contemporary masters weaved their own path between abstraction and surrealism, cubism and constructivism, David Czupryn created his own dimension.
Portraying idiosyncratic arrangements of objects and materials, which unexpectedly add up to forming seemingly living beings, Czupryn treads the boundaries between portraiture and still life painting. Moreover, the artist's command over trompe l'oeil techniques, which create the illusion of three-dimensionality, as well as of tactility of the objects and materials depicted, further complicates the relationship between drawing and sculpting.