Lipchik leaves things like luminous tennis balls, stylized antique vases, and bold hammers ostensibly hovering freely in mid-air, their forms strangely blurred. This manner of presentation is a result of the work process which Lipchik explains as follows: ‘When I am working on a new painting, I start out with a digital drawing. I transfer a digital drawing onto canvas which will, in turn, reappear on screens and in the digital realm. The distribution through Instagram, for example, allows a large audience from around the world to participate. Ideally, they enter a gallery or fair and see the images in the space. The process of translation – from digital compositions to paintings – is important for me. In this process, I discover entirely new possibilities for approaching an old method like painting and I am able to reconsider materiality and color on canvas. This way, I can emphasize the physical and tactile qualities of painting and simultaneously engage in a dialogue with the flatness and immateriality of digital space.
In finely distributed light colors before the backdrop of Capri’s landscape, Lipchik collages a cluster of everyday objects and traditional motifs of art history on a plane. He takes up Giorgio Morandi’s experiments with flatness and spatial depth and, in doing so, brings to the canvas a mix of consumer objects and artifacts. The results are idiosyncratic color tones, perspectives, and arrangements that turn the classical genres such as still life, landscape painting, and portraiture on their heads. Similar to David Hockney’s pool images, this salutary exile becomes a constricting place. As with Hockney, the idyll is, at second glance, tarnished by damaged relationships, artificiality, and solitude.
For Lipchik, this way of approaching pictorial dissociation is also a chance to broaden one-sided ways of reading and to react to the diversity of contemporary visual culture. ‘Nowadays it is a drastic action to continue painting. We are constantly being bombarded by images on social networks, and our clicks lead from video to photo, from text to video, from private messages to the daily news, says Lipchik about deciding upon the medium of painting. He bridges the gaps between digital space and the material world by means of an airbrushed trompe-l’œil effect. With a superimposed layer of paint, Lipchik brings the painting closer to the gallery space, revealing a new, distinctly idiosyncratic mode of contemporary painting.
Text by Anika Meier
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