David Lynch's artwork is powerfully figurative
The publication of two monographs devoted to the art of David Lynch—paintings, photographs, works on paper, installations, canvases smeared with animal corpses—suggests a new way to think about an artist too often taken for an architect of dreamscapes, a fabulist of the psychosexual bizarre. The opposite is just as true: Lynch as a supremely earthly, material artist, whose great subject is the human body in all its banality—and strangeness. The most "Lynchian" of Lynch's films are intensely corporeal: Eraserhead (1977), with its reproductive phantasmagoria; the exposed and dismantled bodies of Blue Velvet (1986); Twin Peaks (1990–91), a melodramatic labyrinth with a plastic-wrapped corpse at its heart; the doppelgängers and displacements of Lost Highway (1997), Mulholland Drive (2001), and Inland Empire (2006).
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