展现出灵魂的肖像画。来自Douglas McDougall。他的绘画就是他观察人类的表达。魔法般的运用炭笔以超现实和精神化的手法淋漓尽致刻画人物并使之活灵活现，富有冲击力。他的最新系列“A New God”选择了一个大胡子模特（和魔鬼的代言人形象一致）。这个真实的人有着面对这个新时代的种种烦恼。也许睿智的想象力和意志力是唯一的真神，而其它的一切都是万物的物而已，自己才是自己的上帝。

艺术家小时候在格拉斯哥长大，他经常随父亲参观博物馆。其中有次看见了伦勃朗的

Rembrandt Man in Armour

和James Guthrie的

old Willie

，被其中凄美而震撼的艺术魅力而深深打动。就拿伦勃朗来说，他用光让人印象深刻，形成戏剧性的效果，有人评价“用黑暗绘就光明”。艺术家心中从此埋下了从事艺术的种子。而历代大师的作品，不断的激励和鞭策他前进和突破。艺术，就是历史的光辉，他要在创作中宏大的链接时代，将其提炼至顶。

garbed for disco (Theo flirts with mona lisa) 100cm x 70cm

garbed eye (garbed for disco)

blind faith 140cm x 100cm

capricious love 100cm x 140cm

inside nowhere 59cm x 42cm

kiss my thrill 59cm x 42cm

oil for the machine 100cm x 70cm

Your New God 59cm x 42cm

(‘ By carving into the paper in a particular way, one can feel the power and the magic and the luck. The face is a mirror of the soul – for better or worse. Portraiture is my way of encapsulating the ongoing museum of human experience, to show who we really are, body and soul..’)

You could say that Douglas D McDougall is a geographer of the human face and psyche. Charcoal driven perceived notions in phrenological/psychoanalytical surrealism is the method in which he records the life of these chosen subjects. In his most recent series “A New God”, Theo (the bearded one) is the Devil’s advocate out to confront new age society’s ails. Like the anthropomorphic being Golem (from Jewish folklore), or modern day Frankenstein, he is mobilized and pushed out into the forum to confront the only God in man that can lead us through this ever perpetuating paradigm. Inside and outside of who we are and what we do to one another as the primary species. The mark of man’s ‘ego’ has always set the terms, ploughed the patterns of education, construction of life and deconstruction within the human evolutionary pathway. ‘Wisdom imagination and willpower’ is the only true God, everything else is just everything else. You are your New God..

(My medium is charcoal/graphite on 300gsm Snowdon Cartridge. I would say it’s a combination of drawing/painting/sculpture with a nod towards the discipline of ‘trompe l’oeil’. An ongoing tribute to the classical history of drawing. Back in the day when i was a young boy growing up in Glasgow my father would often take me to the Kelvingrove Art Gallery and Museum to look at the portrait paintings. His particular favourites being ‘old Willie’ by James Guthrie and Rembrandts ‘a man in armour’. The visceral terms in which Guthrie rendered his subject matter was, at that time, one of the most poignant cultural experiences my eyes had witnessed. And the way in which Rembrandt realized lucidity in defining this static metalic emblem of war. Was to me utterly mind blowing in its ethereal vision. Experiences such as these were very much the institute that planted the initial seed of my interest in becoming an artist. Something that continues to inspire me to this day. I now find myself pushing to hunt down and encapsulate the almost jarring theatre or ambiance evoked when viewing such master works. The real purpose or vocation in this art, my art, is to try and unleash some of that haunting historical beauty. Excavate with a purpose so that it links to the very atmospheric of these memories. Manage these applications, press on and encourage the wizard of a fresh new dynamic. Take the classical drawing medium of charcoal on paper and push it to an absolute extreme..)

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