Composition pop art Femme, 1978

David Lipszyc  

David Lipszyc was born in Paris in 1933. He began painting in childhood, unable to choose between his passions for music, literature, and painting.

After engaging in various activities, he left France in 1956 and settled in Brazil, where he continued his artistic research. Over the course of 12 years, he delved into perceptual issues, aided by his wife, who was trained as a psychologist.

Strongly encouraged by the Belgian philosopher and gallery owner Henri Van Lier, whom he met in Brussels in 1967 and who later became, along with his wife, a major collector of the artist's paintings, Lipszyc definitively returned to Paris in 1968.

From his early works, one can discern a deep predilection for the modular, which guided his research toward themes and subjects with variations, naturally leading him into the realm of signs. In 1966, he conceived a module with its own plastic autonomy. This module also had qualities of openness, allowing it, through repetition, to integrate into larger structures and thus create large structured surfaces, generating new, unpredictable artistic entities.

Through this approach, David Lipszyc also aimed to popularize art, attempting to break away from the notion of the unique piece. He called his works "propositions," suggesting that the viewer could imagine others, all equally valid. For him, the goal was to engage the viewer as the author of what they saw.

Numerous solo exhibitions were dedicated to him from 1965 to 1968, first in South America and then in Europe until 1982. He received the Critics' Prize in Antwerp in 1969, participated in the Salon des Indépendants in 1978, and in numerous group exhibitions until 1982, the year he withdrew from public life while continuing to work diligently.