David Czupryn

Burn After Translation, 2016

Oil on Canvas

190 x 150 cm


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Artwork
Description

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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.

About
the artist

Born in 1983 in Germany, David Czupryn graduated from the Düsseldorf Kunstakademie in 2015 (2007 – 2015) and has been working closely with ARTUNER since then. In 2016, he was the recipient of the 70th International Bergische Art Prize with a solo show at the Kunstmuseum Solingen in October 2017. In the same year, he was part of two shows featuring new works at the collection Uziyel in London and Palazzo Capris in Turin, both curated by ARTUNER. He lives and works in Düsseldorf.

In his surrealist paintings David Czupryn creates fantastic worlds, inhabited by humanoid hybrids and built with materials found at the intersection between nature, man-made polymers and imagination. His practice is mostly informed by a research of the uncanny, conducted from a mostly ‘visceral’ perspective. Indeed, although interested in psychoanalytical theories, Czupryn does not explore them in his works.

His technique is seamless: the ‘layer method’ employed by Czupryn is very meticulous and the brushstrokes result invisible. Indeed, the surface of the painting is very flat, while also conveying a sense of deepness and richness of the materials depicted. The synthesis of nature and industrially engineered materials is a very important aspect of the artist’s work.

David Czupryn started his artistic career as a sculptor, with Prof Georg Herold and later decided to focus solely on painting in the classes of Professors Lucy McKenzie and Tomma Abts: he stopped sculpting altogether and put all his artworks in a storage. For months, all day long, he would practice on painting techniques, trompe l’oeil in particular, as taught by McKenzie. There has been a turning point in his subject matter in 2012, when he saw a late Gothic grisaille painting of a sculpture. Then, he took his earlier sculptures out of storage and started portraying them in painting.

Surrealism and Metaphysical art (Salvador Dalì and Giorgio de Chirico in particular) are undoubtedly the first points of reference that come to mind when looking at David Czupryn's paintings. However, the artist’s most important sources of inspiration are the works of the photographer Diane Arbus and American artist Matthew Barney.


In his surrealist paintings David Czupryn creates fantastic worlds, inhabited by humanoid hybrids and built with materials found at the intersection between nature, man-made polymers and imagination.


David Czupryn
on Artuner

Part of the
exhibition

November 10th, 2016 until
February 11th, 2017
Curated by ARTUNER