Dan Meluzin was born in 1974 in Bratislava, Slovakia. He graduated from the Bratislava University of Fine Arts in 1999 in the open studio of Rudolf Sikora. He then studied in Pittsburgh, the hometown of Warhol, who is also among his influences, and spent two study stays in Paris. He lives and works in Bratislava.

“Dan Meluzin appeared on the art scene in a truly impressive style, exhibiting his master´s thesis project at the Slovak National Museum in 1999. His work drew on the world of advertising and focused on a narrow range of subjects related to consumerism. Bananas, strawberries, cakes and desserts with cream, lipstick and perfume dominated his large-size canvases. Although the viewers were shocked by his subject matter, its rendering was remarkable from the artistic perspective. In the 1990s, and in fact until recently, painting was on the periphery of interest, it was not “in vogue” because there was the cult of installations and videos. Meluzin, who has painted since he was a child and admired the work of the great painter, Vincent van Gogh, has been determined to pursue this path. He has learned the lessons of classical, but also post-war Modernism (abstraction and Pop art) and distinctively rendered this learning in his painting. Although it earned him the label of the “Slovak successor of Pop art”, such a designation can really be understood only superficially. … his perception of consumerism and its portrayal in painting contains the elements of hedonism, pleasure and sensual self-indulgence. … Meluzin´s paintings can be seen as shocking and provocative, even rude and uncompromising, but you cannot deny him great mastery and emphasis on the new sensible aesthetics of painting. His obsession with painting, the ability to perceive the medium in its material and spiritual essence shows affinities with the tradition of Flemish and Dutch colourists and various types of still life. …

Although Dan Meluzin is more an observer than a critic, his concern with consumerism creates sufficient space in the context of his work for the perception of more sophisticated critical semantic contexts.”

Eva Trojanova, art historian