Selected works by Jon Pylypchuk

Jon Pylypchuk
I miss you, danger, and all its elements


Wood, wood glue, fake fur, hot glue, watercolor, polyurethane, cotton

84 x 94 x 122 cm

Jon Pylypchuk’s work evolves from the realm of the pathetic. His drawings and sculptures bring to life a make-believe world populated by abused cuddly creatures, where emotional frailty and menace are worn on every shirt sleeve and pet tag. Mirroring the naked state of the human condition, Pylpchuk’s tragic-comic figures are both loveable and loathsome, recreating instances of pitiful irony that ring all too true. In I Miss You, Danger… Pylypchuk’s raggedy poodle sulks in the discontents of retirement, the kicked dog epitome of loneliness and obsolescence.

Jon Pylypchuk
So then we will burn you when you are dead


Wood, wood glue, fake fur, hot glue, watercolor, polyurethane, cotton

244 x 203 x 203 cm

Jon Pylypchuk makes his sculptures from the most impoverished materials: scraps of wood, remnant fabric, felt, glitter, and glue. Rendered with wonky ‘best attempt’ aesthetics, Pylypchuk mines all the sentimental authenticity of the unloved yet hopeful media of craft camps and community workshops. So Then We Will Burn You… pictures wee critters gathering around their stricken colleague. Reducing the moral sophistication of the adult world to artless simplicity, Pylypchuk plays out horror and grief with child-like naiveté and chilling matter-of-fact-ness, authoring a folktale of tactlessness, discomfort, and inadequacy.

Jon Pylypchuk
Don't press too much luck


Wood, wood glue, fake fur, hot glue, watercolor, polyurethane, cotton

Large cat: 109 x 31.8 x 28 cm , small cat 63.50x 185.5 x 20.5 cm

Jon Pylypchuk’s menagerie of cartoon animals evokes unconditional empathy. Attributed with all the unsavoury traits of human character, his varmint cohort of furry victims and bastards become endearing effigies of the dark side of social psychology. Transposing the unthinkable (or unadmitable) into sub-human form, Pylypchuk’s characters become neutral targets for emotional displacement; in his gawpy animal kingdom there is no right or wrong, only a Darwinian hierarchy and Peter Principle law of nature. In Don’t Press Too Much Luck, Pylypchuk’s black cats’ sexual behaviour is cringe-worthy in its aura of patchwork innocence. Velvety plush with slitty vamp eyes, Pylypchuk’s characters are irresistibly charming in their obscenity.

Jon Pylypchuk
Hopefully, I will live through this with a little bit of dignity


Mixed Media

203 x 800 x 800 cm

Throughout Jon Pylypchuk’s work is an irrepressible optimism, an underdog’s against-all-odds drive for meaningful existence in a barbaric world. Hopefully I Will Live Through This… sprawls across the gallery floor in a chaotic rodent war of puke and death, as tiny rat-soldiers meet their demise not in a moment of battle glory, but an outbreak of poisoning. Crafted with farcical malevolence, Pylypchuk implies an ‘us vs. them’ narrative featuring viewer as villain: his microcosm spoilt by a towering on-looking exterminator. There’s a pang of sympathy as the cute little nasties limp on gun-crutches and writhe in agony, but it’s only momentary in the over all satisfaction of poetic justice well served.

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Additional information on Jon Pylypchuk
Representing gallery, London - Jon Pylypchuk
Additonal information on Jon Pylypchuk
A variety of alternative images including paintings, collage, sculpture and installations by Jon Pylypchuk - Jonathan Pylypchuk - You are the only one left
Gallery Christina Wilson is pleased to show the first exhibition by Jon Pylypchuk (CAN) in Denmark.
At the exhibition You are the only one left, Pylypchuk shows a number of new sculptures, paintings and collages. Pylypchuk’s world is populated by figures who are by the artist described as pathetic characters – all of them types with whom you can only sympathise. They are animal-like characters with an either active or passive attitude towards the world Pylypchuk has chosen for them; some are climbing a mountain, others are boxing with a winged cloud. Another character is being peed on or beaten about the head by a cloud with a long penis. - Jon Pylypchuk, a.k.a. Rudy Bust, at Friedrich Petzelby Robert Mahoney
Jon Pylypchuk, a.k.a. Rudy Bust, a Canadian-born artist now living in Los Angeles, built the supports for more than 25 mixed-medium "paintings" presented in this crowded exhibition by screwing rough-edged pieces of scrap plywood onto panels. The grain of the plywood subsequently functions as landscape components, rickety waterfront piers, cramped interiors or even stick figures. - Jon Pylypchuk at Friedrich Petzel by Nancy Princenthal
Jon Pylypchuk's sense of humor is pitch black, and won't tickle everyone's funnybone. But its provocations aim wide. A Canadian-born, UCLA-educated, ex-Royal Art Lodge member previously known (sometimes) as Rudy Bust, Pylypchuk has a much funkier sensibility than the Lodge's best known graduate, Marcel Dzama, and also a less babe-in-the-woods sense of menace. "I have thought deep into this trouble," the title of this exhibition and of one of the works in it (all 2005), is among the more family-friendly of the phrases that are lettered in minuscule script on collages and paintings alike. - Jon Pylypchuk i will stop fighting you when death stops fucking with me
Jonathan Pylypchuk's paintings, sculptures and installations tackle issues of emotional terrain, fears, loss and rejection through a humorous and sincere sensibility. His preferred media are non-traditional and consist of crude materials such as scrap wood and pieces of fabric (velvet, t-shirts, socks and fake fur) along with glitter and ample amounts of wood glue.
Locust Projects is please to present new work by L.A.-based artist Jonathan Pylypchuk. Pylypchuk knows something of the curse of perspicacity that has befallen us. He knows how sad it is to try to fall in love in a world where you see through
everything, all the time. This is the sort of sadness that tempers his otherwise joyfully scrappy cut-and-paste paintings and objects.
Additional information and images.