Nude, anonymous figures writhe on lawns, wrestle with garden hoses, and dive in and out of flame-red pools against gritty, suburban landscapes. Wearing the distinctive jewelry of actress and gay icon Elizabeth Taylor, they gaze narcissistically at each other in the turquoise waters of a swimming pool. The paintings of U.S. painter Brandon Lipchik (*1993 in Erie, Pennsylvania) depict profound scenes from semi-public yet private domestic spheres typical of American suburbs. In their angular aesthetics and perspective arrangement, the paintings are reminiscent of early computer animations from the 1980s and at the same time suggest contemporary aerial shots of drones and surveillance cameras. Starting July 30, 2022, the Kunstpalais will present the world's first institutional solo exhibition of the young artist's work.
His expressive works focus on the male body, queer identity, sexual freedom, voyeurism, and Americana. Lipchik breaks down the boundaries between virtuality and the physical-real world in a variety of ways. The artist designs his compositions digitally and finally brings them to the canvas in analog painting processes. Recently, he has also expanded his work to virtual reality and 3D print sculptures. It seems as if his figures are now leaving the two-dimensional world of the canvas to enter the real world of the exhibition space. At the Kunstpalais, the artist presents immersive spatial experiences of paintings, poetry, sculptures and VR. He transfers the mysterious landscapes of his paintings onto the walls of the exhibition spaces using his characteristic air brush technique, creating unique and site-specific total works of art.
Brandon Lipchik's works take a look at the dark and mysterious side of the American psyche. Accompanying the exhibition at the Kunstpalais is a richly illustrated catalog.
Image: Brandon Lipchik, Sebastian's revenge, 2022, Courtesy the artist, Photo: Roman März