Paintings (19-works)

David  Dornan In Progress
In Progress
Oil on canvas
60 x 52 in
David  Dornan Bliss
Oil on canvas
40 x 45 in
David  Dornan Hollyhock
Oil on canvas
30 x 24 in
David  Dornan Orchids
Oil on canvas
36 x 32 in
David  Dornan Parade
Oil on canvas
52 x 60 in
David  Dornan Squeezer II
Squeezer II
Oil on canvas
38 x 32 in
David  Dornan Stubby
Oil on canvas
36 x 32 in
David  Dornan Sustenance
Oil on canvas
45 x 50 in
David  Dornan Workhorse
Oil on canvas
45 x 50 in
David  Dornan Celebration
Oil on canvas
30 x 54 in
David  Dornan Pastry I
Pastry I
Oil on canvas
14.25 x 16.5 in
David  Dornan Replacement
Oil on canvas
19 x 18 in
David  Dornan Two of Four
Two of Four
Oil on canvas
20 x 21 in
David  Dornan Abstract Monday
Abstract Monday
Oil on canvas
20 x 17.5 in
David  Dornan Daily Ritual
Daily Ritual
Oil on canvas
36 x 32 in
David  Dornan Double Dip
Double Dip
Oil on canvas
22 x 20 in
David  Dornan Reach
Oil on canvas
12 x 14 in
David  Dornan Staging
Oil on canvas
52 x 60 in
David  Dornan Syndicate II
Syndicate II
Oil on canvas
32 x 36 in

David  Dornan

David Dornan

David Dornan Biography

(American, b.1954)

With an MFA from Arizona State University, David Dornan currently resides in Helper, Utah. His artwork exists in numerous public and private collections throughout the United States. David has produced a sizable body of work, focusing most recently on a series of still life motif paintings. He resigned a 17-year university faculty position to pursue his painting career full time. Throughout his career he has received purchase awards, prizes, best of show awards, and/or high placement in nearly every exhibition he has entered. David has also won many academic and professional awards, and he has exhibited nationally for nearly 20 years.

Remarkable things happen to commonplace objects in David's paintings. A can or jar, a flower, a paint brush- a palette as a sole subject or as elements in a complex composition take on a monumental quality through scale changes and central placement. The objects painted assume a commanding presence through his assertive paint application. Immediacy and spontaneity are achieved not only with a brush, but also through the smear of a thumb, the wipe of a rag, and the "weight and speed" of a drip.


David Dornan Statement

My imagery is created as a result of the painting process. I do not set these containers and brushes in front of me and make a still life from how they appear. Rather, I try to build the forms out of paint. Colors, textures and shapes change repeatedly during my process, which is largely abstract. I then add light theory to these abstract marks to create a visual equivalent to the objective world.

During my studies as a young artist, peer interaction centered on issue related discussions about art. I discovered, however, that my motivation to paint is not reason and issues but passion and the beauty of light and color. I am most engaged and fascinated when my work is primarily visually stimulating. Some of my paintings may imply meaning to the viewer but I hope the visual dynamics and excitement rise above issues and ideas: I want my viewers to feel their sight.

When I am painting, a visual dialogue develops between the medium's inherent qualities and the form I am trying to depict. My paintings are a record of this visual dialogue. I do not begin a painting with a fixed idea of what the painting will look like. The methods and techniques, which I employ during the process of painting, determine the final results. Sometimes I dominate this process with concepts and techniques, which are too familiar to me, and the result is always lifeless. When this happens I will destroy or alter the image by employing haphazard, naive, or accidental paint applications. This will open the painting up, forcing me to react rather than to dictate. Painting is almost always more interesting to me when the process is pulling me as much as I am pushing it. My most successful works seem to result when there is a meeting ground between total chaos and absolute control.


David Dornan Resumé

For full resume, view PDF below


1982 MFA, School of Art, Arizona State University, Tempe, Arizona

1976 BFA, Dept. of Art, University of Utah, Salt Lake City, Utah

Solo Exhibitions

2016 CODA Gallery, Palm Desert, California

2006-11 CODA Gallery, Palm Desert, California

2001-05 CODA Gallery, Soho, New York

2000-04 CODA Gallery, Palm Desert, California

Group Exhibitions

1998 “Blue”, Salt Lake Art Center, Salt Lake City, Utah

1996-97 “Tempe Suite” Group Print Portfolio

1996 "The Reality of Abstraction", Nora Eccles Harrison Museum

1995-96 Summer Show, Allan Stone Gallery, New York


1989 Purchase Award, National Drawing Invitational, Emporia State University, Emporia, Kansas

1987 Utah Arts Council Visual Artist Fellowship

1987 Utah Arts Festival "Impact" Project Grant

1987 Purchase Award, Cliff Lodge Inaugural Painting Exhibition, Snowbird, Utah


1988 Keynote Speaker, Utah Arts Council Annual Conference

1985 Painting Commission, Department of Health Building, Utah State Fine Art Collection, SLC

1982 Abraham & Bessie Lehrer Memorial Award, School of Art, Arizona State University, Tempe, AZ

1980-81 Graduate Students Academic Fellowship Arizona State University


1996 “New American Paintings”, April ’96 #VI, pp42-43, Open Studio Press

1991 Utah Art, Vern Swanson, Robert Olpin and William Seifrit

1990 "A View of Four" Exhibition Catalogue, Text by Will South, Salt Lake Art Center

1986 A Drawing Handbook, Nathan Goldstein

Teaching Experience

1991–Pres Summer Solstice/Fall Equinox Painting Workshops

1996-98 Assistant professor U of Utah, Salt Lake City

1988-96 Adjunct Assistant Professor, University of Utah, Salt Lake City

1983-87 Associate Instructor, University of Utah, Salt Lake City

Visiting Lectures

1995 College of Eastern Utah, Price, UT

1995 Ricks College, Rexburg, Id

1990 Brigham Young University, Provo, UT

1989 Arizona State University, Tempe, AZ


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