David Czupryn

Harlequin after Julio Gonzalez, 2018

mixed media on paper

31.9 x 23.8 cm

Under € 1000


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Artwork
Description

David Czupryn combines his knowledge of art history and his passion for the delicate balance of structuring mobiles to create this piece.

T.S. Eliot wrote that “no poet, no artist of any art has his complete meaning alone”. This interrelation of artists maintains the notion of the dialectic between tradition and the individual, a connection which Czupryn respects. One of the biggest influences on Czupryn for this work on paper is Gonzalez’s Harlequin sculpture from 1930. The abstractness and nominal subject matter work to highlight the disjointed composition and reflect the influence of Cubism. Czupryn epitomises Gonzalez’s notion of abstracting or lifting out certain significant lines and configurations of original models to create a new and enigmatic polyphony of objects. This intertextuality plays a key role in the understanding of the whole as a homogenous enterprise.

It is clear that Czupryn’s dialogue with the history of art canon does not end with the cubists, as can be seen through the colour scheme, which is strongly reminiscent of Calder and Mondrian.

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

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