David Czupryn

Crisis Turns Into Reality Show, 2018

Oil on Canvas

250 × 210 cm


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Artwork
Description

Despite his fantastical oneiric style, David Czupryn’s vibrant and vigorous artworks often illustrate various deteriorations – sometimes of nature and sometimes of the human condition – in a way that comments on very real social matters.

This curious scene scrutinises the financial crisis whilst drawing on the artist’s memory of a photo capturing the 9/11 attack in which people desperately attempt to escape the fire by jumping from windows. In a painting that seems to criticise social hierarchies, the central character appears to occupy a position of importance and power. The body-builder-like physique is painted in camouflage and holds the strings that pull the falling bankers; a puppet master of the crisis. A further suspense lies in the balance between the central figure and his marionettes who act like levers to one another, which questions the amount of control and initiative involved in a financial crisis.

For months, Czupryn practised the assemblage and Trompe-l’oeil technique. This can be observed in the realistic portrayal of materials, such as the marble panels, and the illusive three dimensional appearance of the painting, created by various angles and planes.

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. In 2018 his first major solo institutional show, He She It opened at Kunsthalle Darmstadt. 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

October 30th, 2018 until
January 6th, 2019
Curated by Leon Krempel