David Czupryn

Don Quixote after Julio Gonzalez, 2018

mixed media on paper

31.9 × 23.8 cm

Under € 1000

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Within this work, David Czupryn brings together the combinatorial logic of form and sculpture to create a painting of self conscious attention.

The influence of Gonzalez and Picasso are evidenced through the precise and geometric patterns and lines. Particularly Gonzalez’s sculpture Don Quixote, to which Czupryn pays tribute in the centre of the drawing. Czupryn’s piece embodies Gonzalez’s mantra of using real objects to give sculptures a concrete and tangible reality and to draw attention to a work’s essential form.

The carefully constructed notion of space is as delicately balanced as the painting of the sculpture and it remains for the eye to join together the countless points within the work.

The seamless implementation of his brushstrokes render them invisible, however the texture itself is not lost. Making a reappearance within this piece is also the leitmotif apparent in much of his work is the consistency of the arboreal background.

We can suggest that all works are woven from the tissue of others, whether known or not and Czupryn highlights this interweaving and freely recycles the myths of earlier artists to shape and add resonance to his works.

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

April 5th, 2018 until
April 24th, 2018
Curated by ARTUNER