Burn After Translation, 2016
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In his series of paintings on exhibition, David Crupryn takes inspiration from the artistic tradition of still life whilst at the same time developing the surrealist codes that have come to single Crupryn out from his contemporaries.
In ‘Burn After Translation’ Czupryn plays with the twist-and-turn narrative contents of the Cohen Brothers’ 2008 film, ‘Burn After Reading’. In this painting, Czupryn flattens a small interior space into a two dimensional vortex. The idea for this painting began with a Memphis design lamp, which Czupryn interlaced with other objects, and with the clothes of an anthropomorphic figure. Like the lamp, the figure, whose eyes goggle under a hood in the far right corner of the painting, was inspired by the Vorticism-like dazzle painted warships used in the First World War. The idea of this camouflage was not to conceal, but to mislead the enemy about a ship’s course of action – to dazzle them.
This might explain Czupryn’s inclusion of Martin Luther’s face based from the portrait by Lucas Cranach the Younger (1528): an attempt by the artist to dazzle viewers into a myriad of potential narratives.