The Chemistry Gallery, Prague
Working initially as a painter, Stipl turned to making sculpture. Using himself as a model, Richard focuses exhaustively on the indefinite nature and moment-to-moment paradoxes inherent in the act of continuously recreating oneself throughout the course of a lifetime. Characteristically, Stipl’s paintings and sculptural works alike force us to reconsider the role of boundaries and consequent categories of choice that comprise contemporary attitudes and approaches to art-making and art-consumption. Stipl has exhibited worldwide and is included in many important public and private collections. Over the past several years, his work has captured extensive media and critical attention wherever he has exhibited.
In addition to the Czech art academies in Prague and Brno Lubomir Typlt graduated from the Kunstakademie in Düsseldorf where he studied with professor Markus Lüpertz and professor Gerhard Merz and finally became a "Meisterschüler" of professor A. R. Penck. The artistic handwriting Typlt developed contains a severe dialectic, an uncompromising balancing of opposites and a coming together of contradictions. In the worlds he creates one encounters characteristic, iconographic figures – adolescent, unfinished individuals in a phase of physical and mental growth whose empirical worlds are evoked as an encounter with something that extends beyond the image area and is unpleasant, shocking, malicious or hurtful for them. While in recent years, erasing the differences between men and women has become practically a mantra, Typlt naturally underscores these differences and so his pictures show either groups of girls or groups of boys. The motif worlds he creates for both groups take references to Freudian codes and unconscious processes. Their disturbing impression is intensified through the usage of a very specific contrasted palette which makes his works easily distinguishable. In his pictures paint not an illusion of light and shadow, nor is it an illusion of local color; it is autonomously present in the object, and thanks to the fact that it follows the object’s specific modelling it is subordinated to the space of the painting.