Like so many of David Czupryn’s paintings, AD 2017 is full of art historical allusions. Having begun his career as a sculptor, and only later turning to this ultra-naturalistic style of painting, Czupryn preserves his early interest by using his new medium to depict his old. Hence why Pietro Consagra’s iron sculpture, Ferro Trasparente Fucsia (1966), features so prominently here, along with a Mobile sculpture by the Italian artist’s friend Alexander Calder and one by Czupryn’s own mentor, Georg Herold.
Frequently, Czupryn leaves his viewer to wonder at why he has chosen to include the particular sculptures that he has. In this case, the answer to that question is relatively clear. Consagra’s work (which ARTUNER exhibited for the first time in Turin last year) is highly relevant to Czupryn’s playful practice of translating three-dimensional art objects onto two-dimensional planes. The Italian artist’s own schema was to create sculptures whose effect was wholly frontal, so they might avoid the authoritarian rhetoric which Consagra saw as integral to ‘central perspective’ and, therefore, three-dimensionality. In real life, then, the fuchsia-pink shape depicted by Czupryn is only millimetres thick; here, it is thinner still, reduced to the imperceptible depth of paint on Czupryn’s incredibly flat canvas. Consagra would, no doubt, have been pleased.