In his sculptures, Lupino’s interpretation of reality, his transformations of the ordinary into the extraordinary, are forged through his use of the various media and the tools he employs in the metal and woodworking materials and equipment, in the welding, reforming and polishing of metals, the shaving of layers of wood.

His wood and metal sculptures are both attractive and hideous at the same time with their composition of finely sculpted wood and sharp metal components. His incorporation of those elements into his decorative art (furnishing) pieces draw us in.

In his Chair series (Ongoing), he transforms the furniture into a metaphor for power, corruption, strength and superiority. Notably, his subjects include Julius Caesar, Mao and Putin. Do we dare to sit on his chairs or just admire them from afar?

Lupino creates three-dimensional larger-than-life sculpted forms. His bronze majesties – on fire -, shaped first by hand in clay and then cast in bronze, are anchored in time and place but somehow soar beyond their earthly confines, reaching out to…the stars?…the unearthly reaches of space and time? What magical journey are they leading us on?

His latest incarnations in the Another World (2016) collection, go further. Lupino creates a family of aliens whose superior other world gazes look above and through us. The sculptures reference Venus di Milo, Madonna and Child but are clearly not of this world, strangely beautiful but devoid of emotion.

Lupino’s Art rewards close scrutiny at exhibition as the pieces are infused with a troubled energy, a raw beauty, the discomforting impermanence of human existence. However, buried in the pieces is a sense of the redemptive power of faith. This is at the heart of his Lupinizam philosophy.

Chairs