David Lynch is internationally renowned as a filmmaker, but it is less known that he began his creative life as a visual artist and has maintained a devoted studio practice, developing an extensive body of painting, prints, photography, and drawing. Featuring work from all periods of Lynch’s career, this book documents Lynch’s first major museum exhibition in the United States, bringing together works held in American and European collections and from the artist’s studio.
Much like his movies, many of Lynch’s artworks revolve around suggestions of violence, dark humor, and mystery, conveying an air of the uncanny. This is often conveyed through the addition of text, wildly distorted forms, and disturbances in the paint fields that surround or envelop his figures. While a few relate to his film projects, most are independent works of art that reveal a parallel trajectory.
Organized in close collaboration with the artist, David Lynch: The Unified Field brings together ninety-five paintings, drawings, and prints from 1965 to the present, often unified by the recurring motif of the home as a site of violence, memories, and passion. Other works explore the odd, tender, and mincing aspects of relationships. Highlighting many works that have rarely been seen in public, including early work from his critical years in Philadelphia (1965–70), this catalog offers a substantial response to dealer Leo Castelli's comment when he enthusiastically viewed Lynch’s work in 1987, “I would like to know how he got to this point; he cannot be born out of the head of Zeus.”
By David Lynch in collaboration with Robert Cozzolino, Curator of Modern Art and Senior Curator at the Pennsylvania Academy of the Fine Arts (PAFA).
"Expands greatly the scope of our knowledge of auteur and impresario Lynch." -- Douglas F. Smith ― Library Journal Published On: 2015-02-01
"Lynch’s last Philadelphia canvases are brutally textural, integrating cigarette butts and filters, matted horse-hair, and bits of unidentifiable petrified organic matter. His more recent work, characterized by broad paint strokes and large-scale dramatic canvases, is more polished in its perversity." -- J. Hoberman ― The New York Review of Books Published On: 2014-12-09