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brian donnelly volume 2, 2006, #021
brian donnelly is driven by horror movies, novels about science gone horribly wrong, frighteningly loud music, and coffee. as a graduate of the ontario college of art and design, brian continues to work on large scale oils with his somewhat cynical approach to contemporary representational painting. he currently lives and works in toronto, canada. 1. how would you explain 'art' - in 19 words or less? organised sports for people who don't have any interest in sports. 2. what is the first work of art you ever loved? bat out of hell by richard corben. it was the cover of the album of the same title by meat loaf. my dad had the record in his collection, and as a five or six year old i would just stare at the image endlessly. the notion of blasting out of hell on a motorcycle was very appealing to me. 3. how important is theory to your art? i would have to say it's fairly important. for me to paint the subject matter i deal with now, as well as the work i've done in the past, there has always been a long thought process, and research to back it up before paint ever makes contact with canvas. theory isn't the driving force behind what i do - i just like to calculate outcomes. 4. describe your ideal art workspace. i imagine that it would be HUGE, on the second floor of some warehouse, with big windows at one end. it would also have a stereo and a telephone, but no television. while i'm being idealistic, there's also a beautiful woman who brings me a cup of coffee in the morning and again in the afternoon … she doesn't live there, she just drops by. 5. describe your current art workspace. smaller than i would like to describe, but i work around it. 6. if you could be placed in suspended animation and safely reanimated at some time in the future with the sole purpose being to see how history treated you / your art, would you do it? 7. who are some of your favourite artists (contemporary or canonical)? gustave courbet because the man painted what he knew, and never deviated. franz kline because of his aggressive visuals. duane hansen for the dialogue between art and audience. jean-michel basquiat purely for his destructive editing, as a whole i don't care for his work. norbert bisky for illustrating only the important parts. 8. tell us about a gallery (online or physical space) that you think rocks, and why you think it rocks. are there any physical spaces left that rock? mind control gallery in toronto used to throw great parties, loads of people, but they went tits up last year. spamusement.com rocks - the guy who runs it just does drawings based on the subject lines of his junk emails. 9. would you choose the baked bean jaffle or the caramelised pumpkin and red onion tart with crispy radicchio and hazelnut salad with apple vinaigrette? i'll have the jaffle, but i'd like to wear a nine thousand dollar tuxedo while i eat it. 10. finish this sentence: "the work of art can / cannot be considered separately to the artist because ________." cannot, simply because art doesn't just happen on its own - it is created by someone, and that is what art is: the exposition of cognitive thought and actions. on david letterman one night i saw a painting of large, brash, downward blue strokes, it was just terrible on the visual alone. they cut to this scene of an elephant standing at the railing by niagara falls with a large brush held in her trunk, painting the very painting i had seen seconds before. terrible or not, it was painted by an elephant. check out more of brian's work at: www.briandonnelly.org |
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