David John Flynn

David John Flynn


A few words on my paintings - by David John Flynn

My painting concurrently expresses contradicting themes in art. The aim is not to nullify these themes, not to mesh them together but to have them challenge each other.

I compel the accidental and the restrained to occur in a painting. Marks on the canvas are traces, vestiges of the act of painting, and suggest spontaneous gestures that describe the image.

In my work a library of stencils (made of marks drawn from incidents, recollections and painting) assist in constructing a visual language. Paintings are created by using, reusing and distorting these elements. This advances the visual comprehension that these paintings are not merely vestiges of a spontaneous or reasoned painting process, but the conclusive application of combining intuition with the rational, an intuitive painting  constructed out of a formal process.

The foundation of my work is the interest in these shifts of comprehension and deciphering the many facets of reality in painting.

David John Flynn

Born in Manchester, Connecticut US on the 29th of February 1952

Bachelor of Fine Arts Virginia Commonwealth University, Richmond, Studio assistant for Gerald Donato, Lithography


Summer Academy Edinburgh Arts ‘73, Richard DeMarco Gallery, Edinburgh GB, with Josef Beuys


Summer Academy Edinburgh Arts ‘72, Richard DeMarco Gallery, Edinburgh GB, with Magdalena Abakanowicz

 Selected Solo Exhibitions


a sense of light, Galerie Fenna Wehlau, München (mit Bettina Bürkle)


stations, Galerie Fenna Wehlau, München


painting, Max-Planck-Institute für Biochemie, München
2013tribute, Galerie Schütte, Essen
2011David John Flynn, new work, H&Z, München
2010andenken, Theologisches Studienseminar der velkd, Pullach

recognitions, Galerie Harthan, Stuttgart
9. Austellungsprojekt, projektraum-bahnhof25, Kleve

2008schichten, Stadtmuseum Penzberg, Penzberg
2007Keepsakes, Galerie Knyrim, Regensburg
inflections, Kunstverein Landshut e.V., Landshut
2006keepsake, Galerie Harthan, Stuttgart (Cat.)
2005David John Flynn, Torre Villa, centre cultural Salou ES (Cat.)
David John Flynn, Galerie Piñyol, Reus ES
2003buoyage, Galerie von Tempelhoff, Karlsruhe
2002A Painters Missal, Galerie Harthan, Stuttgart
Standards of Memory, Warsaw Project Space, Cincinnati US
Notes on the Paintings, Cloister Aldersbach, Aldersbach in association with the Europäischen Wochen Passau
2001Patterns of Choice, Galerie Schweden, München
2000New Paintings, Dean Jensen Gallery, Milwaukee US
1999New Paintings, Galerie Harthan, Stuttgart (Cat.)
marina del rey, Galerie Schweden, München
1997William Turner Gallery, Los Angeles US
Paintings, Galerie Oliver Schweden, München
1996Paintings, Galerie Harthan, Stuttgart
1994Paintings, Galerie Schweden, München (Cat.)
1992Ginko Biloba, Galerie X, München
1991 Galerie Harthan, Stuttgart
1988Galerie Albrecht, München
Letters Home, Kellergalerie im Schaezler Palais, Augsburg (cat.)
1987Galerie X, München
1979Works on Paper, Modlin Fine Arts Center, University of Richmond
 Selected Group Exhibitions
2017Hydrophil, Galerie Schmidt und Schütte, Köln
Shortcut to Kettwig, Galerie Schmidt und Schütte zu Gast im Kunstraum der Scheidt’schen Hallen, Essen, Germany
2016VOL1, Galerie Schmidt und Schütte, Köln

monochromosen, curated by electric art cube, Halle 50, München


33 nach 9, with Andreas Stetka and Monika Reinhart, UBO9, München


Probability Flux, with Michael Lukas, Gabriela Obermaier and Kathrin Pfaff-Lukas, Produzentengalerie Landshut, Landshut


Together, Jordan National Gallery of Fine Art, Amman JO (Cat.)

2007one artist, one piece, Galerie Knyrim, Regensburg
20061000 KunstWerke, Galerie Knyrim, Regensburg

Destination Germany, with Liz Bachhuber, Jon Groom, and Sean Scully, Kunst Galerie Fürth, Fürth (Cat.)

2003glücks griffe, Galerie Harthan, Stuttgart
2002Galerie Hanstein, Saarbrücken
2001gegen[d], Amerikahaus, München
20003+5, Alram 20, München
1999Überraschung, Galerie Schweden, München
1998One piece only, Galerie Harthan, Stuttgart
1996Made in Germany, Synchronicity Space, New York, US
1995Black and White, Pope Gallery, Santa Cruz, US

Kunst, Design und Barbie, Werkbund Archive, Martin Gropius Bau, Berlin


Internationale Kunst aus Münchner Ateliers, Künstlerwerkstatt Lothringerstraße, München (Cat.)


Small Works, 1708, Richmond US


Hochzeit in Kana, Painting for the Fellowship Hall, Aichschieß

2003Paramente, Feldkirche Unserer Lieben Frauen, Aichelberg

site specific installation for M & W Zander, from the series Marina del Rey, Stuttgart


Realization of a site specific installation, LandesBauSparkasse, München



Bayerisches Staatsgemäldesammlung, München

Städt. Kunstsammlungen Schaezlerpalais, Augsburg

Städt. Galerie Filderhalle, Leinfelden-Echterdingen
Regierungspräsidium Baden-Württemberg, Stuttgart
Regierungspräsidium Baden-Württemberg, Karlsruhe
European Patent Office, den Haag NL
Evangelische Kirche Baden-Württemberg
Bayerische Landesbank, München
HypoVereinsbank, Münster
LandesBauSparkasse, München
Stadtsparkasse Fürstenfeldbruck, Fürstenfeldbruck
ADIG, München
Deutsche Kontor Privatbank, Grunwald
Verlag Unterwegs, Singen
Rodenstock, München
H&Z, München
Galerie Schmidt und Schütte, Köln
Harthan Kunstvermittlung, Stuttgart
Galeria Pinyol, Reus
William Turner Gallery, Santa Monica, California

Each painting is conceived as an object, demanding its own space; it does not exist merely as a plane just above the surface of the wall nor as a window to a space existing behind the wall. These are tangible objects. All aspects (materials, height, width and depth) of the objects construction are taken into consideration. l make my paints from pigments, beeswax and dammar varnish. Unlike encaustic, l use a technique that permits me to paint with cold wax. This gives me more control over the quality and use of the paint. Industrial norms, mathematical progressions and classical formats are used to develop the framework within a series. This gives the series a formal grid upon which the unconscious and random elements of the paintings can act.

Each painting within the series has to be able to stand alone as a painting. Building its basic structure, the painting is divided into sections that have a formal relationship to the whole. These sections are then painted independently of each other. It is a completepainting that can be used as a fragment to create new or alter existing works. All paintings in a series have a formal relationship to oneanother. They can be docked onto other works (from within or without the series) indiscriminately thereby accenting chance. The concept of top or bottom has no meaning in this work. Each , the choices can be shared with the end user, of paintings is only one possible form. Just as the images and forms are constantly recalled, reused and renewed in the paintings so can the paintings in that they too are recalled and reused.

The painting develops its inner order from the act of painting. They grow from a series of decisions. Whether these are intuitive or objective has little meaning, as they are always personal. This conflict between formal and expressionistic elements in a painting is not a manifestation of its inconsistencies but a way to open up to the possibilities of how to make a painting. It is consequently inconsequent.


Quoted from David John Flynn about the "paintings"

Edition fabric