Lynch, a painter turned avant-garde film-maker, employed the ordinary as a shield against the irrational
David Lynch obituary: A visionary film-maker whose unnerving perspective extended far beyond the movie screen
Lynch’s style has often been termed surreal, and indeed, with his troubling juxtapositions, outlandish non sequiturs and eroticised derangement of the commonplace, the Lynchian has evident affinities to classic surrealism. Lynch’s surrealism, however, was more intuitive than programmatic. If classic surrealists celebrated irrationality and sought to liberate the fantastic in the everyday, Lynch employed the ordinary as a shield to ward off the irrational.
Performative normality was evident in Lynch’s personal presentation. His trademark sartorial style was a dress shirt worn without a tie and buttoned at the top. For years, he regularly dined at and effusively praised Los Angeles fast-food restaurant Bob’s Big Boy. Donald Lynch was transferred east; his family relocated first to Durham, North Carolina, and then Alexandria, Virginia, where David Lynch attended high school and became interested in painting. After graduation, he attended the Corcoran School of Art in Washington and the School of the Museum of Fine Arts in Boston before entering the Pennsylvania Academy of Fine Arts in 1966.
Remarkably crafted, Eraserhead was four years in production and required another three to consolidate an audience. That same year, Lynch scored an even greater triumph when he conquered network TV with Twin Peaks, a haunting, often bewildering inquiry into the death of a high school homecoming queen.
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