Stranger

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Gavin Maughfling : 'Underneath'. Oil on Canvas,  102 x 132 cm, 2016 Gavin Maughfling : 'Remains'. Oil on Canvas, 97 x 120 cm, 2016 Gavin Maughfling : 'The Woods'. Oil on Canvas, 102 x 127 cm, 2015 Gavin Maughfling : 'Parting'. Oil on Canvas, 61 x 46 cm, 2016 Gavin Maughfling : 'Social Media'. Oil on Canvas, 100 x 80 cm, 2016
My recent paintings all explore different aspects of gender and queer experience. The works in the series ‘Stranger’ began with a watching of the film ‘L’Inconnu du lac’, and my ensuing preoccupation with the role that landscape can play, not only as the setting, but also as a key protagonist in anonymous encounters, capable of containing, mirroring and expressing a range of emotions including expectancy, desire, heightened adrenalin, fear, menace and melancholy. As with most of my work, the paintings are sourced from online sites, which are often uncredited or anonymous, and go through a process of drawing and painterly translation towards their final iteration. This process reflects a concern with the positioning both of myself and of the imagined viewer in relation to any painting – whether as voyeur (seen or unseen), protagonist or as a player or intruder who arrives too late after the event, when the actors have left the scene.

The interrogation of the viewer-painting relationship is further layered by the consideration given to the sourcing of the works, their initial encounter an engagement or reveried imagining across the barrier of the laptop screen.
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My recent paintings all explore different aspects of gender and queer experience. The works in the series ‘Stranger’ began with a watching of the film ‘L’Inconnu du lac’, and my ensuing preoccupation with the role that landscape can play, not only as the setting, but also as a key protagonist in anonymous encounters, capable of containing, mirroring and expressing a range of emotions including expectancy, desire, heightened adrenalin, fear, menace and melancholy. As with most of my work, the paintings are sourced from online sites, which are often uncredited or anonymous, and go through a process of drawing and painterly translation towards their final iteration. This process reflects a concern with the positioning both of myself and of the imagined viewer in relation to any painting – whether as voyeur (seen or unseen), protagonist or as a player or intruder who arrives too late after the event, when the actors have left the scene.



The interrogation of the viewer-painting relationship is further layered by the consideration given to the sourcing of the works, their initial encounter an engagement or reveried imagining across the barrier of the laptop screen.

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