The longer you look at Kaye Donachie’s portraits, the weirder they get. All of them avoid looking you in the eye. Their gazes slide away; they look to the side, are cast down or are occupied elsewhere. Consumed by the unseen, they can appear distracted or appalled. These are paintings, after all, not beings trapped in a frame. They aren’t even portraits. They have their beginnings in old black and white photographs, but their faces belong to no one.
