David Czupryn’s paintings draw in the viewer in an ‘Alice-through-the-looking-glass’ fashion. His visual vocabulary seems to follow the logic of a dream: inhabited by bizarre creatures, his disorienting scenarios toy with impossible perspectives and mimetic surfaces. Not only the imitation of nature plays an important role in Czupryn’s works, but also his characters often seem to be playing hide and seek with the observer. In ‘PaleNeonPlastics, Radio, Marble etc.’, for instance, the anthropomorphic assemblage of neon tubes, plants and various utensils is not immediately discernible. The artist’s interest in mimesis is evident in this painting’s ironic floor, depicted as a paradoxically boldly coloured camouflaged pattern.
While Czupryn is extremely fascinated by nature and rigorously studies its vegetable and mineral formations, he is not interested in representing them as they really are. Although his technique is definitely hyperrealist and conveys a sense of familiarity of materials to the viewer, upon closer inspection it becomes apparent that the portrayal is not life-like. Indeed, the artist elaborates on nature, by depicting materials and organisms which, although verisimilar, do not exist in reality, but are the product of his imagination.
Interestingly, the more one looks at the artwork and realises how strangely alien, yet uncannily familiar the scenario is, the more one is tempted into recognising a narrative. In such way, the fish outline and radio transistor (a homage to Isa Genzken’s ‘Weltempfänger (World Receiver)’) might become the springboard for a story about a fisherman.