Hupperich’s paintings resemble diary notes in which he daily writes down, scribbles and crosses out events and observations from his life and his imagination, creating a specific visual handwriting and repertoire. What at first glance looks like pop art or a form of postmodern citation is more a painted theory of the medium – painting, as a symbolic and chaotic mirror of the world and space that the paintings encompass, whether physical or virtual.

His artistic approach starts from artificial realism and random abstraction, his works try to show the symbiosis existing between paintings and everyday visual contexts they face as they emerge.

By translating an image from the digital to the tactile analogue space of a framed canvas, Hupperich does not refer to the technical innovation brought by digital image production, but – on the contrary – insists on the logic of production of images as spaces that are being filled with meaning and, at the same time, manipulate meanings in a way that confronts the expectations and habits we have of painting as a historically grounded discipline.

© Cultural Centre of Belgrade, the October Salon Collection and the artist
Gift Contract: III-5-298/29.9.2014.
Inventory No. 049, 050
Photo: Milan Kralj, installation view 54^th October Salon, Ana Kostić

Selected Bibliography:
54^th October Salon, No One Belongs Here More Than You. Cultural Centre of Belgrade, 2013
Endy Hupperich: Albumtotal 2004 – 2008, Ulenspiegel Druck GmbH, München, 2008