Endy Hupperich
An artist who swims against the current, who shuns pure language and categorizations. With his skill at manipulating images and a collector’s dedication, he explores the absurd, the ironic, and the popular without softening his message or his critique of consumption, of the false dichotomy between high and low culture.
Three for Blue, Thin Opera
by Valerie Campos (march, 2021)
Living in Mexico since 1992 and influenced by the decade of the eighties that culminated in the fall of the wall of Berlin, the artistic movements of the time and the global tendency to neoexpressionism known as transvanguard, his versality and vast technical experimentation allow him to transcribe laboriously nets that amplify the distortions and insinuations of the media language by generating a type of painting that escapes any categorization.
Going at countercurrent of fashion and against the caprices imposed by the art market as well as the monotonous rhetoric on the end of painting, Endy Hupperich, shows his skepticism toward languages pretentiously pure or non-referential.
As a collector and manipulator of images, he justifies any means to express his reflections on the absurd, the ironic, the popular and the cult, by opening an acute critic about consumerism and the conventional distinctions about high and low culture. His eclecticism on medium and his particular sense of humor, superposes a series of iconographies that are not stereotyped: symbols of nostalgy of recognizable propaganda that appears in the streets of Mexico as pastiches who give the appearance of a cheap add.
Here is where negation and contradiction bet on playing a soccer game to create a link between chance and decision, for the objective is lost, while the confusion is reestablished by reminding us that without style and content a painting is only paint.
