09 Apr - 30 Jun 2010


Artane will present to the art lovers of Istanbul a series of monotypes along with editioned prints and photogravures of David Lynch, one of the most outstanding, provocative directors of the American Cinema .

David Lynch, by all means one of the most provocative directors of our time, worked for years as an abstract expressionist painter, long before he entered the world of cinema. In 1966 when he was studying art at the “Pennsylvania Academy of Fine Arts”, he saw a little part of the figure moving on one of the “dark” paintings he was working on and heard a wind blowing. His sudden urge to animate these figures was his first impulse that eventually lead him to filmmaking. Consequently he later made his first animation “Six Men Getting Sick”. As a reflection of his exposure to the strange human imagery, dangerous and terrifying incidents in the city of Philadelphia, he completed his first movie Eraserhead. This movie became a huge success. In the following years Lynch established his outstanding career in the American Cinema.

The predominant theme of Lynch’s artwork is that of “innocence trapped in a corrupt world”. The strokes are fast and smudged. The paint oozes and cracks. The imagery is often of a single figure, such as a lone tree, a lost dog, or a shoddy house…

David Lynch who hates slick and pretty things; who finds “color” to be a little too real and sees beauty in the darker things; who prefers mistakes and accidents and who is inspired by the peculiarities unique to humankind; provides an extraordinary opportunity for all art appreciators in Istanbul – the cultural capital of 2010, to witness his unique prints and photogravures.

Brett Wood (film historian in College Park, Georgia)

” In this recent series of prints, Lynch has expanded the breadth of his vision to yet another medium with great proficiency and achieved a level of artistic maturity exceeding that of his previous work. The white backgrounds and often simple designs of his prints reflect a tendency toward a cleaner aesthetic, though he has sacrificed none of the darkness and grotesquerie that have for years characterized his work in various media.”


“I never end up with what I set out to do. Whether it’s a film or a painting, I always start with a script, but I don’t ever follow it all the way through to the end. A lot more happens when you open yourself up to the work and let yourself act and react to it. Every work ‘talks’ to you, and if you listen to it, it will take you places you never dreamed of. It’s this interaction that makes the work richer.

“I love industry. Pipes. I love fluid and smoke. I love man-made things. I like to see people hard at work, and I like to see sludge and man-made waste”

“Well…if you said to me, ‘Okay, we’re either going down to Disneyland or we’re going to see this abandoned factory,’ there would be no choice. I’d be down there at the factory. I don’t really know why. It just seems like such a great place to set a story”

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