Kurt Schranzer is a Sydney-based artist and lecturer.
Finding aesthetic similitudes with 20th century European modernism and more recently Japanese musha-e, he has drawn widely from both art and literature, including the works of Paul Klee, Jean Arp, de Chirico, Max Ernst, Lorca, Genet, and Cocteau. His reduced, architectural drawing style challenges the assertion that the gesture or ‘expressive mark’ is drawing’s quintessence. Joe Frost, in his review of Drawings: Kurt Schranzer & Tony Tuckson, speaks of Schranzer’s approach as epitomizing drawing as a controlled process whilst still having a regard for beauty and psychological effect. Christopher Dean writes in The Speculum of the Other Man that Schranzer’s formal line work is both scientific and fetishist, constituting “a boys own journey into modernism.”
Steering a course through abstraction and figuration, and from drawing into object-making, Schranzer’s personae and subjects are eclectic and idiosyncratic, traversing the celestial, botanical, nautical, avian alongside the male nude. They are complexly exploited to elaborate upon themes of masculinity and self-identity, the homo-social and the erotic, the psychoanalytic, and the esoteric.