Dysphagia

Dysphagia No.73, Oil on Harfboard

Break­ing the Connection

Sep­a­rat­ing of the viewer from the sub­ject, cre­at­ing a wall jux­ta­pos­ing the nat­ural flow of the body with the cold cal­cu­la­tion of the grid.

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Uraz
Painted Tape on Masonite This is a smaller tape assem­blage made from por­traits of Mila, Samara and oil sketches from Hip­bone Stu­dio. Named for the rune Uraz, mean­ing strength and health. I see power in this piece, it’s cen­tered around one of the most inter­est­ing peo­ple I’ve every met, Mila Lupe, …
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Raido
Painted Tape on Wood I left Port­land, Ore­gon ear­lier this year after an eight year res­i­dence. I trav­eled cross coun­try with Crys­tal Zing­sheim and we stopped in to see my friend Zack in Chat­tanooga, my home town, on our way to the coast. I was amazed at how much the city …
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Portrait of Julie
Oil on Hard­board The sec­ond layer of a Dys­pha­gia paint­ing, this por­trait of Julie no longer exists in this form. I sold the paint­ing before I had the oppor­tu­nity to pho­to­graph the final. It’s a thirty minute sketch but it cap­tures her essence. I do still have the strips of tape.
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Ambiguation No.30
Oil on Hard­board One of my favorite paint­ings of Samara, one of the most mag­i­cal peo­ple that I know. In the col­lec­tion of Zack Czengöldi, the rarest bird of all. From the Ambigua­tion Series. Col­lec­tion of Zack Czengöldi
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Dysphagia No.7
Oil on Hard­board This is a clas­sic stu­dio paint­ing made at Todd Leninger’s Stu­dio in Port­land, Ore­gon. The base is a six ses­sion, 18 hour study of Haven on a stool. The sec­ond layer is a wing backed chair that Todd uses for an alter­nate prop. There’s a nice ten­sion in …
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Dyshagia No.92 (final)
Por­trait of Lilie A study of Lilie. I started this piece with Lil­lie over the hol­i­days. She was a great sub­ject and wanted to fea­ture her feet in the com­po­si­tion. I worked a bit more loosely than usual on this piece. The exper­i­ments with tape on can­vas vs, tape on board …
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Painted Tape on Masonite Another in the rune series of painted tapes on ges­soed masonite, Man­naz fea­tures two por­traits of Julie, one of Quin, and parts of other mod­els. I really love the break­ing of form and the rhythm of these pieces. The two sep­a­rate por­traits of Julie, though not the …
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Dagaz
Painted Tape on Wood Like Raido before it this mixed media assem­blage takes it’s name from a rune, Dagaz, mean­ing day. There are pieces from sev­eral por­traits in this piece, Zayda, Lau­ren, Crys­tal and Kari. I’ve made Zayda the focus, rear­rang­ing the strips of tape and break­ing the fig­ure. Again the …
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Study of Jes
Oil on Hard­board A ges­ture study of Jes done at Todd Leninger’s. I like to paint a few quick poses on a can­vas or board as a warm up exer­cise. I wipe them into the sur­face or just build them up as the ses­sion pro­gresses. Jes is a rock climber and …
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Ephemeralia
Mir­ror, Mir­ror Dis­turb­ing the pic­ture plane by hav­ing the model take a posi­tion, then mir­ror that same pose. Build­ing a Rorschach test.
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Uraz
Raido
Por­trait of Julie
Ambigua­tion No.30
Dys­pha­gia No.7
Dysha­gia No.92 (final)
Man­naz
Dagaz
Study of Jes
Ephemer­alia

  

Written by Daniel Liam Gill

 

Daniel Liam Gill is a painter who lives in Portland, Oregon. He is currently working on the series' Objectify and Seeds. Daniel was born in American Falls, Idaho in the fall of 1961. He spent his formative years in the American South working as an illustrator, graphic designer and art director. Daniel taught illustration design at Portfolio Center in Atlanta, Georgia and illustration at the Pacific Northwest College of Art in Portland, Oregon. He co-founded The Illustrators’ Jam with PNCA and Raw Visceralia, an art experience. Daniel studied pastels with Lee Bomhoff , an Atlanta artist. He honed his figure drawing skills in Portland, Oregon, creating hundreds pastel drawings over several years. Daniel graduated to oils in 2006 and started the series, Connective Tissue in 2007.

 
7 Responses to Dysphagia
  1. […] For Pur­chase | Sep 3, 2010 | 0 Comments […]

  2. […] is a Dys­pha­gia type con­struc­tion with a sand­wiched exper­i­ment as it’s base. It doesn’t fit into the rest of the series […]

  3. […] I men­tioned in an ear­lier post, I’ve been sav­ing the tapes from my Dys­pha­gia Series, the ones that I use to paint one work on top of another. I’ve assem­bled them into this […]

  4. […] use a lot of tape when I’m work­ing on my Dys­pa­gia Series. I’ve been sav­ing these tapes for quite some time and have finally used them in […]

  5. […] sec­ond layer of a Dys­pha­gia paint­ing, this por­trait of Julie longer exists in this form. I sold the paint­ing before […]

  6. […] the Dys­pha­gia Series. ShareSHARETHIS.addEntry({ title: “Dys­pha­gia No.51″, url: […]

  7. […] is a trip­tych por­trait series that I started in 2008. It uses the grid­ding sys­tem from Dys­pha­gia over repeat­ing sec­tions of a model. I’m also exper­i­ment­ing with unwrap­ping the form and multiple […]

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