Excerpt:
When Dornan died he left about forty drawings that had
obviously been made during his time at Kingseat hospital
and were precursors to his larger paintings. The text
and captions on the drawings from that period are poetic,
aphoristic; sometimes clear in their meaning, at other
times obscure:
‘Last seen heading towards the brain; it is hard to
lose the things you own’, ‘She had dark skin on her
kisses: it is only better thinking that will give us
a cure for mental health’, ‘Can Dr McDonald trap the
brain without damaging it; how elusive is the sun’,
‘My flesh and blood is my age but my life is a million
years old’.
Although the drawings portray different items and allude
to individuals and situations, they are linked to images
of the brain, often by common electrical wiring or by
concoctions of vascular systems. Tool-kits, television
sets, crank handles, meters, spanners and ships become
symbols in an extended metaphor with recurring images
which appear to derive from medical text-books. There
are references to mental health throughout Dornan’s
work, such as
‘today’s education is of a high standard, no-one should
be shut away in a mental hospital.’
In the 1960s a lot of changes took place at Kingseat.
The discovery of anti-psychotic drugs had revolutionised
psychiatry. The ‘villas’ – separate freestanding wards
– were no longer locked, recreational facilities were
expanded, and segregation of male and female patients
was abolished. But by the end of the sixties large institutions
such as Kingseat were being wound down and individuals
such as Dornan were given no option but to go back into
the community.
When Dornan returned in 1967 to live in the cottage
he had built for himself in the town of Wairoa, he produced
a remarkable body of artwork, painted in acrylics on
both sides of large calico sheets attached to wooden
strips and rolled up for portability, as Dornan had
a continuing dialogue with some of the psychologists
he had met in hospital. He often travelled by bus or
train and made the long journey to show them – and anyone
else who was interested – what he was doing.
The article as it appears in Raw
Vision magazine.
You may click on the first two pages for a larger image.
To read the rest of this article, buy
Raw Vision #55.