David Czupryn firstly cultivated his surrealist practice as a sculptor, learning first-hand how to work with materials such as stone, wood, and marble. He progressively became interested in painting, to the point of deciding to solely focus on it. In 2012, Czupryn saw a grisaille work depicting a sculpture, and, despite the monochrome, grey-ish tones of the grisaille (from the French word for grey: gris) technique, Czupryn found himself inspired, and started portraying his own sculptures in paint, conjoining both practices. His style evolved into an active research of the uncanny, blending humanoid figures, imaginative shapes, and featuring realistically rendered materials on paper and canvas.
Czupryn’s composition shows a humanoid figure assembled with peculiar objects placed in front of a closed door. The composition conveys a frail stillness in its almost perfect symmetry; the thin sticks protruding out of the holes as ‘arms’ seem very fragile as they have even thinner supports, insecurely clamped to an irregular polyhedron on a stool, at the centre of the drawing – almost to secure its posture, the humanoid is holding a slowly rotating Calder sculpture, and a deflated, yet still floating balloon.
The perplexed emoji-like likeness carved into the wood of the door is the only element of contemporary pop culture present in this composition – it’s at the centre of the drawing, giving it an overall mood of unsettlement as if the composition were precariously balanced and risked collapsing at the slightest movement.