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Dornan draws the recognizable object into abstractions of space, surface, and shape through countless brushes with regions just beyond accepted reality. David focuses on commonplace objects that might normally be overlooked: cans or jars, a flower, a paint brush, a palette as a sole subject or as elements in a complex composition take on a monumental qualities through scale changes and central placement.


"My imagery is created as a result of the painting process. It could be said that the detritus of the painting process are both the subject matter and result. 


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’s motivation to paint is not about 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.”

Colors, textures and shapes change repeatedly during my process, which is largely abstract.


"Then I add light theory to these abstract marks to create a visual equivalent to the objective world. If there is a collision between de Kooning and Vermeer, I want to be there to see it.  My most successful works seem to result when there is a meeting ground between total chaos and absolute control."

I do not set these containers and brushes in front of me and make a still life about how they appear. Rather, I try to “build” the forms out of paint.


Haphazard, naive, or accidental paint applications open a painting up, forcing me to react rather than to dictate.


My most successful works seem to result when there is a meeting between total chaos and absolute control."

Process versus Product

Process versus Product

Process versus Product
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