Diana Shpungin

bwDiana Shpungin is a Brooklyn based multi-disciplinary artist who works in drawing, sculpture, installation, hand-drawn animation, video & sound. She has exhibited extensively in solo and group exhibitions in both national and international venues including: The Bronx Museum of Art, Bronx, NY; Sculpture Center, Long Island City, NY; Bass Museum of Art, Miami, FL; Fieldgate Gallery, London, England; Futura Center for Contemporary Art, Prague, Czech Republic; Tomio Koyama Gallery, Tokyo, Japan; Carrousel du Louvre, Paris, France; Invisible Exports, New York, NY; Stephan Stoyanov Gallery, New York, NY; Marc Straus Gallery, New York, NY; Museum of Contemporary Art, Miami, FL; Brooklyn Museum of Art, Brooklyn, NY; Institute for Contemporary Art, Palm Beach, FL; Marella Arte Contemporenea, Milan, Italy; Galerie Zurcher, Paris, France; Site:Lab, Grand Rapids, MI; and The Geisai Art Fair, Organized by Takashi Murakami in Miami for Art Basel.

Shpungin’s work has been reviewed in publications such as Artforum, Flash Art, New York Magazine, Art in America, Art Papers, Sculpture Magazine, The Village Voice, The New York Times, NY Arts Magazine, Timeout New York, Zing Magazine, Bloomberg, M-The NY Artworld, Timeout London, Connaissance des Arts, Le Monde, Whitehot Magazine, The Boston Globe & Miami Herald among others. Her work was the subject of a recent episode of PBS’s Art Assignment, “Object Empathy” and was cited in the introduction of Jerry Saltz’s most recent book “Seeing out Louder”. Shpungin has been awarded residencies with The MacDowell Colony, Lower Manhattan Cultural Council, VLA Art and Law, Bronx Museum AIM Program, Guttenberg Arts and Islip Carriage House. Her work is included in Artist Pension Trusts Global One Fund and the collection of Martin Z. Margulies, Miami, FL; The the Deutsche Bank Art Collection, New York, NY as well as numerous private collections in the United States and abroad.

Born in Latvia’s seaside capital of Riga under Soviet rule, Shpungin immigrated as a child to the U.S. where her family settled in New York City. She received her MFA from the School of Visual Arts, New York, NY and has taught and lectured at numerous universities and art schools. She is currently faculty at Parsons: The New School for Design in New York City. She lives and works in Williamsburg, Brooklyn with her husband, artist Blane De St. Croix and French Bulldog Rhino.

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Drawing Of A House (Triptych) 2015, house, graphite pencil and multi-channel hand drawn video animation, dimensions variable (daylight and night time views) It starts with a pencil, a fundamental tool universal in its function and familiarity. Diana Shpungin’s Drawing Of A House (Triptych) is a large scale, multi-faceted participatory work consisting of drawing, sculpture and hand drawn video animation, functioning as one over all monumental installation and community project for SiTE:LAB in partnership with Habitat for Humanity of Kent County and The City of Grand Rapids. The vacant house is converted into a massive sculpture and three-dimensional drawing by way of it being entirely tediously encased by hand in graphite pencil. While selected windows of the home double as screens, exploring narratives related to the domestic themes embedded in the historical memory of the space, –past, present and future, through ambiguous themes of still life, figuration and abstraction. The (Triptych) in the title of the work refers both to the homes address (333 Rumsey Street) and to the three loose narratives taking place on the three sides of the home.
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I Especially Love You When You Are Sleeping, 2011, 24″ × 36″ × 68″, graphite pencil, citrus tree, citrus leaves, medical tape, newspaper obituaries. I Especially Love You When You Are Sleeping depicts an orange tree, with most of its leaves fallen, balancing on two severed stacks of newspaper obituaries. The sculpture is based on the gift of a tree that was never planted due to Shpungins’ fathers’ death, the tree itself realizing a similar fate. The sculpture is methodically hand coated in graphite pencil with seemingly endless strokes. The title is an ironic reference to a phrase Shpungin’s father often repeated to her—the phrase also makes reference to the rarity of one to speak ill will after someones death.
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