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A highly stylised hyperrealism and a preoccupation with the uncanny is at the heart of David Czupryn’s artistic practice. In ‘Plastikmann’, a chimerical being, half-plastic, half-boy, stands at the centre of the painting, surrounded by an amalgamation of natural and synthetic materials.
Inspired by the plastic toys made for children and exported from China, the brightly coloured limbs of the figure contrast with the inlaid wood painted onto the left and the familiarity of the potted plant on the right. But these boundaries between the earthly and the artificial collapse upon closer examination; through the wood a figure can be seen to almost walk through the wall, while in the background itself a face can be seen, with two holes doubling as eyes or nostrils.
These additions disturb the scene in a subtle way, suggesting that the world depicted is neither wholly real nor entirely fantastical, but must be accepted as an enigmatic consolidation of the two.