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diana shpungin
updated: 03/17/2014
website: www.dianashpungin.com/
 
   
 
 
     
 
Artwork Title
art-medium
art-year
dimensions
Click thumbnails for full view:
 
Solo exhibition, NYC – (Untitled) Portrait of Dad --Installation view
Solo exhibition, NYC – (Untitled) Portrait of Dad --Installation view
I Especially Love You When You Are Sleeping
A Fixed Space Reserved for the Haunting
A Fixed Space Reserved for the Haunting
Under Taken
Apprentice Progression Methodology
Finis Coronot Opus (the ending crowns the work)
You Will Remember This / 1664 Sundays -(Untitled) Portrait of Dad -Installation view
Solo exhibition, NYC – (Untitled) Portrait of Dad --Installation view
Until It No Longer (install view)
Until It No Longer (install view)
Until it No Longer (detail view)
His View
Endless Ocean
 
Portfolio Keywords:  psychological, autobiographical, repetition, process, text, memory, conceptual, domestic, obsessive, portraiture
 
 
Solo exhibition, NYC – (Untitled) Portrait of Dad --Installation view  by diana shpungin
Solo exhibition, NYC – (Untitled) Portrait of Dad --Installation view
graphite and mixed media
2011
Dimensions variable
Solo exhibition, NYC – (Untitled) Portrait of Dad --Installation view  by diana shpungin
Solo exhibition, NYC – (Untitled) Portrait of Dad --Installation view
graphite and mixed media / hand drawn animation
2011
Dimensions variable
I Especially Love You When You Are Sleeping by diana shpungin
I Especially Love You When You Are Sleeping
graphite pencil, citrus tree, citrus leaves, medical tape, newspaper obituaries
2011
24" x  36"  x 68" 
A Fixed Space Reserved for the Haunting by diana shpungin
A Fixed Space Reserved for the Haunting
graphite pencil on wood chair, newspaper obituary sections, ink, plaster, gauze
2011
24 " x  24 "  x 48 " 
A Fixed Space Reserved for the Haunting by diana shpungin
A Fixed Space Reserved for the Haunting
graphite pencil on wood chair, newspaper obituary sections, ink, plaster, gauze
2011
24" x  24"  x 48" 
Under Taken by diana shpungin
Under Taken
pencil on paper, pencil on wall, archival mounting board, medical tape, erasers
2011
56" x  26.5"  x 3" 
Apprentice Progression Methodology by diana shpungin
Apprentice Progression Methodology
pencil on paper, archival mounting board, medical tape, staples, drywall
2011
26" x  36"  x 5" 
Finis Coronot Opus (the ending crowns the work) by diana shpungin
Finis Coronot Opus (the ending crowns the work)
one hundred seventy cut out rubbings/drawings, pencil and graphite on paper on wood
2011
84" x  32"  x 26" 
You Will Remember This / 1664 Sundays -(Untitled) Portrait of Dad -Installation view  by diana shpungin
You Will Remember This / 1664 Sundays -(Untitled) Portrait of Dad -Installation view
hand drawn animation / one ton of potatoes
2011
Dimensions variable
Solo exhibition, NYC – (Untitled) Portrait of Dad --Installation view  by diana shpungin
Solo exhibition, NYC – (Untitled) Portrait of Dad --Installation view
hand drawn animations / one ton of potatoes
2011
Dimensions variable
Until It No Longer (install view) by diana shpungin
Until It No Longer (install view)
hand drawn animation
2011
Dimensions variable
Until It No Longer (install view) by diana shpungin
Until It No Longer (install view)
49 drawings used for animation /pencil on paper, archival mounting and mat board, pickled ash wood
2007/2011
60" x  42"  x 4" 
Until it No Longer (detail view) by diana shpungin
Until it No Longer (detail view)
drawing used for animation / pencil on paper, archival mounting and mat board, pickled ash wood
20007/2011
9" x  12" 
His View by diana shpungin
His View
48 drawings used for animation / pencil on paper, archival mounting board, medical tape, pins
2011
54" x  57"  x 1" 
Endless Ocean by diana shpungin
Endless Ocean
30 drawings used for animation /pencil on paper, archival mounting board, medical tape, pins
2011
66" x  94"  x 1" 

Artist Statement

Utilizing the mediums of drawing, sculpture and video under an acutely conceptual framework, a minimalist aesthetic is combined with both highly personal subject matter and fanatical seriality. The work elusively investigates identity through associations to memory, mortality, loss and myth. Concerned with beauty as a sublime idea rather than as a straightforward formal element, the sentimental both seduces and repels. However, that duality has become a necessary element in the work, always looking for a balance between form and content, superstition and logic, science and the sentimental and the poetic and the rational.

An obsessive language has been developed based on my surgeon fathers methods both in medicine and in domestic life, --repeatedly utilizing materials such as medical tape, plaster, gauze, drywall, newspaper, ink, pencil, graphite, pins, staples, erasers, archival materials, wood and found objects. By translating these both foreign and familiar processes into artistic practice a form of apprenticeship lives on in a commemoration.

Drawing behaves as an obsessive act employed for the exploration of memory. Thematically the work seeks empathy across all identity lines. The sculptural works too function as drawings, but in three dimensional space, meticulously coating objects with graphite pencil as if they removed themselves from the two dimensional plane and into our bodily space providing an ever greater intimacy and physicality with the object itself. Many of the drawings are further used to create animation works, “purposely failed animations”, or “moving stills”, --never successfully animating the inanimate subject sourced from the motionless world of photography or the even more metaphorically static realm of memory.

All my methods of working maintain a peculiar sense of longing, --the subject matter may directly address this, a formal sensibility of tension may be employed or longing can be implied by way of a self-imposed conceptual failure, --often having a purposeful yet ambiguous sense of incompletion.

 

Artist Bio / CV

Diana Shpungin is a multi-disciplinary artist who works in drawing, animation, sculpture, installation, video & sound. Born in Latvia’s seaside capital of Riga under Soviet rule, Shpungin immigrated as a small child to the United States where her family settled in New York City. She received her MFA from the School of Visual Arts, New York, New York . Shpungin has taught and lectured at numerous universities and art schools and is currently faculty at Parsons: The New School for Design in New York City.

Shpungin has exhibited extensively in solo and group exhibitions in both national and international venues including: Bronx Museum of Art, Bronx, NY; Sculpture Center, Long Island City, NY; Bass Museum of Art, Miami Beach, FL; Fieldgate Gallery, London, England; Futura Center for Contemporary Art, Prague, Czech Republic; Tomio Koyama Gallery, Tokyo, Japan; Carrousel du Louvre, Paris, France; Invisible Exports, New York, NY; Stephan Stoyanov Gallery, New York, NY; Museum of Contemporary Art, Miami, FL; Brooklyn Museum of Art, Brooklyn, NY; Palm Beach Institute for Contemporary Art, Palm Beach, FL; Marella Arte Contemporenea, Milan, Italy; Galerie Zurcher, Paris, France; and The Geisai Art Fair, Organized by Takashi Murakami in Miami for Art Basel.
 
Shpungin was cited in the introduction of Jerry Saltz's most recent book "Seeing out Louder" and her work has been reviewed in publications such as New York Magazine, Artforum, Flash Art, Art in America, Art Papers, The Village Voice, The New York Times, NY Arts Magazine, Timeout New York, Zing Magazine, Bloomberg, M-The NY Artworld, Timeout London, Connaissance des Arts, Le Monde, Whitehot Magazine, The Boston Globe & Miami Herald among others. Shpungin has been awarded residencies with The MacDowell Colony, Lower Manhattan Cultural Council, VLA Art and Law, Bronx Museum AIM Program and Islip Carriage House. 
 
Shpungin lives and works in Brooklyn, New York.
 
more info: www.dianashpungin.com