Paul Finley Gavin

Portrait Of A Graffiti Artist As Young Man - WIP/2008

2007-10-09T13:10:00.002-07:00

This is the second painting in the “Repetition” series.

I am taking digital stills after each night of work. Once the piece is complete, I will compile the stills into a short movie. The movie will detail the painting's development from a blank canvas to a completed piece, mistakes, repainted, successes and failures.

Photo updated May 06, 2008.

To be continued…

Two Opposites That Never Meet - WIP/2007

2007-10-09T13:10:00.001-07:00

After my son was born, my production understandably slowed. Once I felt ready to resume a higher level of painting activity, I looked for a good way to get back in the flow and to sharpen my skills. A more traditional still-life would accomplish this.

To complicate things, this new piece was the first painting of a new series. This mandates a new element to be emphasized. The element, like sampling in the “NYC” series and depth w/o perspective in the “Deconstruction” series, must be transferable from still-lives to more pop-artish pieces.

After a long internal debating, I decide that the canvas would split and paint semi-identically on both sides. This repetitive element is flexible enough to would work with any type of painting.

The “Repetition” series.

Many of the same objects were used in this still-life, artichokes, pears, chicken bowl, but bamboo stalks and Chinese tea set were added in for something new to work on.

To be continued…

Deconstruction From Coffee - 2007

2007-10-05T07:16:00.003-07:00

This painting is on quite a roll. It won “Best in Show” at the New Hampshire Art Association’s 2007 “Omar T. Lassonde” exhibit and was juried into two national exhibits, "Blanch Ames National Art Exhibition" in North Easton Mass and the “Essex Art Center's 14th Annual Juried Show” in Lawrence MA.

This is the third and final painting in the Deconstruction series. I started working on this piece a few years back, but I ran into some issues.

While working on each painting, I always hit a point or points where I have to stop for a while. Sometimes this pause is short, only a few days. In some cases, like this one, it took unusually long.

The reason for a stoppage is that something in my original composition has not translated as well as I expected. For example, another object is need for balance or the color pallet is off.

The problem paintings are hung on the wall somewhere in my studio so I may view then as I work on other things. This allows both my conscious and unconscious to sort out the issues.

‘Deconstruction from Coffee’ took unusually long to finish, but ended up very well.

The photograph’s used in this piece are from early 20^th century photographer Horst P. Horst. The image in the upper right is the famous ‘Mainbocher Corset’ - 1939. The original photo was taken just days before the Nazi’s invaded Paris. This image was somewhat famously used in Madonna’s ‘Vogue” video.

Horst also collaborated with Salvador Dali. The image, 'Lisa, Hands with Vase and Flowers' - 1941, in the upper left is a surrealistic still life from this time.

The last teacup still life is also a Horst image, which is used to offset the other black and white images.

There are also some embedded Keith Haring’isms.

The pile of books are from what I was reading at the time.

“Deconstruction From Coffee” - 2007
42” x 35”
Oil on linen

I Come To You To Be Strange - 2006

2007-10-05T07:16:00.001-07:00

2007 Currier Museum of Art's "Rosmond deKalb Memorial Award"

"I Come To You To Be Strange"- 2006
40" x 40"
Oil on linen

Will Paint For Bombay Sapphire And Tonic

2007-10-05T07:07:00.002-07:00

tbd

Red Sky Lyte

2007-10-05T07:07:00.001-07:00

"Red Sky Lyte" is the first painting in the NYC series. tbc

Deconstruction From Beer

2007-10-05T07:06:00.000-07:00

tbd

Deconstruction From Tea

2007-10-04T11:08:00.000-07:00

tbd

Bleach - 1999

2007-09-17T12:23:00.000-07:00

This piece was started in 1998 and completed about 12 months later. The painting started out as puzzle pieces with no real direction.

Initially the middle of the painting was left empty for "something", but at the time I was unsure what that "something" was.

A few months after starting "Bleach", I began to study with James Aponovich. Immediately things started to "click". My techniques became stronger, my pallet started to define, and my own style began to emerge.

I have studied with James off and on over the years. I owe much of my accomplishments to him and his teachings.

James Aponovich

To me, the most interesting part of this painting is the conflict between the two competing styles, the thick heavily applied paint of the puzzle pieces and the finely painted still life.

The writing in the background of "Bleach" is a bit of a riddle. I enjoy embedding Easter eggs into all of my paintings. I won't give it away, but it would take a trained mind to decipher.

I have had numerous offers for this piece, but it's one of my wife and my personal favorites. It's part of my beginning as a professional painters and remains in our personal collection.

"Bleach"- 1999
41" x 31"
Oil on canvas