Going through the work of Gaël Davrinche, the observer might question himself: is it really the same brush tracing, with few delicate touches, the profile of a flower in Memento, and then fiercely assaulting the canvas, to give life to the restless and destructured masks of the the Kalashnikov series? Is it the same hand sketching, with almost childish strokes, the silhouette and the unique smile of the Gioconda, and then moulding four big hyperrealist portraits, astonishing for elegance and artistry?
What we are facing is the work of a versatile artist: the merry and instinctive hand of the child suddenly become the refined and erudite one of the master. The brush is at the same time tool of life and death, used for caressing or stabbing the canvas: this is the impression suggested by the two portraits Baby Doll and Kalashnikov#4.
In the first one the matter, flawessly spread out, needs to dissolve in the illusion of the subject portrayed . The second one, as the rest of the series, is the result of a whirl of violent and hefty brush storkes, as they were wounds inflitced to the canvas, on the purpose to (de)compose a physiognomy, almost grotesque and full of suggestions from a more or less recent past: from Goya to Soutine, from Francis Bacon to Glenn Brown.
While the first part of Gaël Davrinche’s carreer was characterized by a pursuit of the past, paying tributes to the fathers of painting through ironic and educated appropriations, today the artist seems he’s investing his energies in a double research on the person: on the one hand the seduction of the exterior form, on the other hand the depth of the human spirit, which is often dark. The double nature of the investigation justifies the actual coexistence of two styles only apparently antithetical, but complementary indeed: a really sensual photografic realism and an almost abstract expressionism.
Hurricane committs a synthesis of the production Gaël Davrinche dealt with in the last years, to forty works. Full of prestigious awards in France, with an interest rapidly gaining the other european boundaries, as in the Far East. The hurricane we are referring to, deals with the mood of the aritist himself: eclectic, whirling, untiring, involves and picks-up every stirring from his daily observation, from his masters, from his books or his frequentations, transforming this with the visceral, extraordinary and multiform power of painting.