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Bhratra (Bhaiya) by Gavin Donaldson

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Bhratra (Bhaiya)

Gavin Donaldson

150 x 185 cm | 59 x 72 in

Subject: Abstract

Original painting in oil, acrylic and charcoal on canvas.

"..The automatic response to past experience is to show pictures. My practice is a personal exorcism of these ideas, a form of personal meditation with the intention to loosen the gripping necessity to control. The work manifests as incomplete or in a state of flux, constantly dissolving and evolving – to remain fluid and to be not as the viewer would expect. I am interested in the process of an artist working, and want to create art objects - reducing the paintings and drawings to their material value. Reducing art to its truth, constantly reinforcing destruction as an equal value as creation." 

Notes to buyers from the artist: Presenting this work is ultimately up to the buyer. I would like to keep the work as it is though it involves being directly attached to the wall, so if a traditional stretcher or a wooden support for the work is preferred then I am more than open to discussing and constructing something that works for both parties. Otherwise it is a quick and simple process to hang it as it is shown in the images of the work.


Gavin Donaldson

Gavin Donaldson’s creased, crumpled canvas’ expose dripping, blurred and equivocal portraits. The painterly contours and smears of paint dragging across the picture plane together with the disrepair of the canvas itself invite the viewer to witness an ongoing performance of themes. There is a duality at work: creation and destruction. This idea resonates with the artist’s intentions of creating paintings which echo the dual nature of a person’s inner self and the self they perform to the outer world. The artist Roger Hilton in 1961 observed that the technique of painting was less about representing the visible world than, “being an instrument capable of embodying men’s inner truths.” This statement reflects the aims of Donaldson; the façade is only part of the prism of perceptions at play. The work itself has the materiality evocative of Lucian Freud but the staggering confrontation and ambiguity indicative of Marlene Dumas. This collaboration of subject and materiality is especially noticeable in Donaldson’s work, and it contributes to the immediate and encompassing connection it solicits with its viewer.

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