Brandon Lipchik

Brandon Lipchik was born in Erie, (US), in 1993. Lives and works in Berlin.

Brandon Lipchik’s images, rendered on the computer and then transferred to canvas by hand, deconstruct different perspectives and layer them together to create a multi-perspective visual collage. His works are reminiscent of footage from CCTV cameras that monitor a room from various angles or drones circling a subject.

“When I paint, I realize how much control I have over perspective. Just like a filmmaker, I determine what the viewer should see — whereas the filmmaker is limited to what the camera or physics provide. I often use a floating head perspective or an over-the-shoulder view to literally look down on the character, as in a movie, or to emphasize that they are being observed. You could even say that I provide an out-of-body or spiritual view of my simulated characters,” Lipchik says.

The often garishly lit, vividly colored, multi-perspective images echo typical tropes of Americana, yet as mythically charged pop culture sites. Lipchik deconstructs bodies, spaces, plants, objects, and fauna, reducing them to rudimentary, abstract, hard-edged shapes, while juxtaposing them with painterly, softer mark-making and gestural brushstrokes. His figures are reminiscent of early computer animation. Undoubtedly, Lipchik’s paintings also explore the concept of “machine people” — new connections between the organic, technology, and AI — and an era poised to radically transform humanity, relationships, and art. However, this Modernism 2.0 is not driven by the belief in progress and the optimism of the early 20th century but rather by uncertainty. His scenes are fantastical, grotesque, and decadent, forming a kaleidoscopic visual language where myth, technology, and magic intersect.