Connective Tissue

Con­nec­tive Tis­sue explores the rela­tion­ship between the artist and model, focus­ing on the thread that runs from the observer to the observed and the effects of tech­nol­ogy on human intimacy.

I’ve been study­ing the human fig­ure for years, look­ing below the sur­face to find some­thing more; explor­ing the energy of the model rather than phys­i­cal beauty.

Visceralia No.7, Oil on Masonite 18" x 24"

Vis­cer­alia

Explor­ing the Connection

My life draw­ings were done pri­mar­ily in pas­tel on paper. I tried oils in 2006 and fell on my face, hard. I was using the same tech­niques that I employed with the pas­tel and was mak­ing mud. I cut my palette back to pri­maries, worked faster and threw out my idea of mak­ing some­thing pretty. Vis­cer­alia is what I got, more energy than phys­i­cal rep­re­sen­ta­tion. A con­ver­sa­tion engag­ing the model rather than a pic­ture of a nude hold­ing a pose. A real break­through in see­ing for me.

Visceralia No.42, Oil on Hardboard, by Daniel Liam GillVisceralia No.17 Collection of Bradley Tyler WilsonVisceralia No.16, Oil on HardboardVisceralia No.102, Oil on HardboardVisceralia No.99, Oil on CanvasboardVisceralia No.15, Oil on CanvasVisceralia No.85, Oil on HardboardThread, Oil on Wood 26.5”x 48”Visceralia No.18, Oil on HardboardVisceralia No.77, Oil on HardboardVisceralia No.25, Oil on HardboardVisceralia No.20, Oil on HardboardVisceralia No.5, Oil on HardboardVisceralia No.3, Oil on CanvasVisceralia No.22, Oil on Hardboard

Dysphagia No.5, Oil on Canvas

Dys­pha­gia

Sep­a­ra­tion Studies

Part of my process involves phys­i­cally alter­ing the pic­ture plane, cre­at­ing a wall between the model and the viewer. I’ve jux­ta­posed the nat­ural flow of the body with the cold cal­cu­la­tion of the grid, sep­a­rat­ing my audi­ence from the sub­ject and break­ing the connection.

Dysphagia No.73, Oil on HarfboardDysphagia No.29, Oil on Canvas BoardDysphagia No.41, Oil on HardboardDysphagia No.17, Oil on CanvasDysphagia No.7 Oil on Masonite 24" x 30"Dysphagia No.30, Oil on Hardboard

Fascia No.10 - The Furies, Oil on Canvas, by Daniel Liam Gill

Fas­cia

Tres Överkrop­par

A trip­tych por­trait series that uses the grid­ding sys­tem from Dys­pha­gia over repeat­ing sec­tions of a model, stack­ing top. mid­dle and bot­tom on one another, bro­ken by ver­ti­cle, hor­i­zon­tal and diag­o­nal lines. It’s an exer­cise in alienation.

Fascia No.1 Oil on Canvas 12" x 24" by Daniel Liam GillFascia No.2, Oil on Canvas 12" x 24"Fascia.No.5, Furies, Oil on CanvasFascia No.6, Graces, Oil on CanvasFascia No.9, Oil on CanvasFascia No.8, Oil on Canvas, 12" x 24"Fascia No.11, Oil on CanvasFascia No.13, Oil on Canvas, by Daniel Liam Gill

Ambiguation No.14, Oil on Hardboard

Ambigua­tion

Oil on Hardboard

A step beyond Vis­cer­alia, more calm and serene. I used to dream of los­ing my form, slow­ing dis­solv­ing into the void. I took that feel­ing and used it in this series. The palette remains the same, the brush stokes less intense, the forms barely hold­ing together.

Ambiguation No.1, Oil on HardboardAmbiguation No.3, Oil on PaperAmbiguation No.10, Oil on CanvasboardAmbiguation No.15, Oil on HardboardAmbiguation No.22, Oil on HardboardAmbiguation No.24, Oil on HardboardAmbiguation No.79, Oil on HardboardAmbiguation No.3, Oil on Hardboard

Ephemeralia No.1, Oil on Hardboard

Ephemer­alia

Fold­ing Space

Dis­turb­ing the pic­ture plane by hav­ing the model take a posi­tion. Then mir­ror that same pose, hold­ing each for a few moments, cre­at­ing a new form from oppos­ing sides of the original.

Ephemeralia No.2, Oil on HardboardEphemeralia No.4, Oil on HardboardEphemeralia-No.5, Oil on HardboardEphemeralia No.7, Oil on HardboardEphemeralia-No.10, Oil on HardboardEphemeralia No.11, Oil on Hardboard