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The Big Yins is an homage to Salvador Dali, to Kelvingrove Art Gallery, Glasgow, and a portrait of Sir Billy Connolly. This painting was featured by BBC Arts in an article celebrating the 75th birthday of 'the big yin': Scottish comedian Sir Billy Connolly. The portrait of Billy Connolly is taken from the work of Photographer James Stenson, with whose kind permission The Big Yins was created. The original photograph was used for the internationally loved comedian to announce his diagnosis of Parkinson's disease in the media. The Big Yins is a large scale statement piece measuring 1 m x 1.5 m (3ft by 5ft). The upper part of the painting depicts Christ of St John of the Cross, after Salvador Dali, who was inspired by a tiny drawing by 12th Century Christian mystic. This is the origin of the dynamic perspective of the cross. The lower part of the painting features a vibrant yellow sky and a mountain and seascape, with two fisherman working their nets from a small boat. Beside this, painted in black and white, a portrait of comedian Billy Connolly, appears like a giant of a man. John was inspired to paint The Big Yins when he saw the BBC Billy Connolly: Portrait of a Lifetime documentary. John was moved and startled by Billy’s re-visiting of his favourite painting Christ of St John of the Cross by Salvador Dali. The comedian's childhood experience of Kelvingrove Art Gallery, and Dali’s work, so mirrored John’s own (born in Drumchapel, and growing up in 1960s Glasgow) that John decided to paint Billy’s portrait either standing in front of, or within, his favourite painting; it’s up to the viewer to decide. John's own Artist statement describes being 'born under the image of Christ of St John of the Cross by Salvador Dali'. This painting at Kelvingrove Art Gallery planted the seed for a love of art, and awakened the soul of this deaf kid from Drumchapel. When he first picked up a piece of charcoal and tried to draw as an adult it was a version of Dali’s work which John created. The title The Big Yins may be seen as controversial. But this is not the intention of the artist. John grew up in a Glasgow tenement in a sectarian district, with deep divisions between Catholics and Protestants. Dali's Christ of St John he viewed as a 'protestant' little boy, and fell in love. The theme of the painting is about the power of creativity to overcome sectarian divides, and to make peace. Connolly is not compared with a 'Christ' figure, except in the fact of facing suffering, and a hard road ahead. The Big Yins continues John's themes of suffering and strength, and the indomitable resilience of the human spirit. An outsider artist whose practice is the key to survival and relationship, following 17 years of profound deafness, John McDonald’s work declares: I’VE COME THROUGH MY DARK DARK DARK PERIOD AND IT’S MY PAINTING THAT’S GIVING ME LIGHT LIGHT LIGHT
The Big Yins is an homage to Salvador Dali, to Kelvingrove Art Gallery, Glasgow, and a portrait of Sir Billy Connolly. This painting was featured by BBC Arts in an article celebrating the 75th birthday of 'the big yin': Scottish comedian Sir Billy Connolly. The portrait of Billy Connolly is taken from the work of Photographer James Stenson, with whose kind permission The Big Yins was created. The original photograph was used for the internationally loved comedian to announce his diagnosis of Parkinson's disease in the media. The Big Yins is a large scale statement piece measuring 1 m x 1.5 m (3ft by 5ft). The upper part of the painting depicts Christ of St John of the Cross, after Salvador Dali, who was inspired by a tiny drawing by 12th Century Christian mystic. This is the origin of the dynamic perspective of the cross. The lower part of the painting features a vibrant yellow sky and a mountain and seascape, with two fisherman working their nets from a small boat. Beside this, painted in black and white, a portrait of comedian Billy Connolly, appears like a giant of a man. John was inspired to paint The Big Yins when he saw the BBC Billy Connolly: Portrait of a Lifetime documentary. John was moved and startled by Billy’s re-visiting of his favourite painting Christ of St John of the Cross by Salvador Dali. The comedian's childhood experience of Kelvingrove Art Gallery, and Dali’s work, so mirrored John’s own (born in Drumchapel, and growing up in 1960s Glasgow) that John decided to paint Billy’s portrait either standing in front of, or within, his favourite painting; it’s up to the viewer to decide. John's own Artist statement describes being 'born under the image of Christ of St John of the Cross by Salvador Dali'. This painting at Kelvingrove Art Gallery planted the seed for a love of art, and awakened the soul of this deaf kid from Drumchapel. When he first picked up a piece of charcoal and tried to draw as an adult it was a version of Dali’s work which John created. The title The Big Yins may be seen as controversial. But this is not the intention of the artist. John grew up in a Glasgow tenement in a sectarian district, with deep divisions between Catholics and Protestants. Dali's Christ of St John he viewed as a 'protestant' little boy, and fell in love. The theme of the painting is about the power of creativity to overcome sectarian divides, and to make peace. Connolly is not compared with a 'Christ' figure, except in the fact of facing suffering, and a hard road ahead. The Big Yins continues John's themes of suffering and strength, and the indomitable resilience of the human spirit. An outsider artist whose practice is the key to survival and relationship, following 17 years of profound deafness, John McDonald’s work declares: I’VE COME THROUGH MY DARK DARK DARK PERIOD AND IT’S MY PAINTING THAT’S GIVING ME LIGHT LIGHT LIGHT
The Big Yins is an homage to Salvador Dali, to Kelvingrove Art Gallery, Glasgow, and a portrait of Sir Billy Connolly. This painting was featured by BBC Arts in an article celebrating the 75th birthday of 'the big yin': Scottish comedian Sir Billy Connolly. The portrait of Billy Connolly is taken from the work of Photographer James Stenson, with whose kind permission The Big Yins was created. The original photograph was used for the internationally loved comedian to announce his diagnosis of Parkinson's disease in the media. The Big Yins is a large scale statement piece measuring 1 m x 1.5 m (3ft by 5ft). The upper part of the painting depicts Christ of St John of the Cross, after Salvador Dali, who was inspired by a tiny drawing by 12th Century Christian mystic. This is the origin of the dynamic perspective of the cross. The lower part of the painting features a vibrant yellow sky and a mountain and seascape, with two fisherman working their nets from a small boat. Beside this, painted in black and white, a portrait of comedian Billy Connolly, appears like a giant of a man. John was inspired to paint The Big Yins when he saw the BBC Billy Connolly: Portrait of a Lifetime documentary. John was moved and startled by Billy’s re-visiting of his favourite painting Christ of St John of the Cross by Salvador Dali. The comedian's childhood experience of Kelvingrove Art Gallery, and Dali’s work, so mirrored John’s own (born in Drumchapel, and growing up in 1960s Glasgow) that John decided to paint Billy’s portrait either standing in front of, or within, his favourite painting; it’s up to the viewer to decide. John's own Artist statement describes being 'born under the image of Christ of St John of the Cross by Salvador Dali'. This painting at Kelvingrove Art Gallery planted the seed for a love of art, and awakened the soul of this deaf kid from Drumchapel. When he first picked up a piece of charcoal and tried to draw as an adult it was a version of Dali’s work which John created. The title The Big Yins may be seen as controversial. But this is not the intention of the artist. John grew up in a Glasgow tenement in a sectarian district, with deep divisions between Catholics and Protestants. Dali's Christ of St John he viewed as a 'protestant' little boy, and fell in love. The theme of the painting is about the power of creativity to overcome sectarian divides, and to make peace. Connolly is not compared with a 'Christ' figure, except in the fact of facing suffering, and a hard road ahead. The Big Yins continues John's themes of suffering and strength, and the indomitable resilience of the human spirit. An outsider artist whose practice is the key to survival and relationship, following 17 years of profound deafness, John McDonald’s work declares: I’VE COME THROUGH MY DARK DARK DARK PERIOD AND IT’S MY PAINTING THAT’S GIVING ME LIGHT LIGHT LIGHT
The Big Yins is an homage to Salvador Dali, to Kelvingrove Art Gallery, Glasgow, and a portrait of Sir Billy Connolly. This painting was featured by BBC Arts in an article celebrating the 75th birthday of 'the big yin': Scottish comedian Sir Billy Connolly. The portrait of Billy Connolly is taken from the work of Photographer James Stenson, with whose kind permission The Big Yins was created. The original photograph was used for the internationally loved comedian to announce his diagnosis of Parkinson's disease in the media. The Big Yins is a large scale statement piece measuring 1 m x 1.5 m (3ft by 5ft). The upper part of the painting depicts Christ of St John of the Cross, after Salvador Dali, who was inspired by a tiny drawing by 12th Century Christian mystic. This is the origin of the dynamic perspective of the cross. The lower part of the painting features a vibrant yellow sky and a mountain and seascape, with two fisherman working their nets from a small boat. Beside this, painted in black and white, a portrait of comedian Billy Connolly, appears like a giant of a man. John was inspired to paint The Big Yins when he saw the BBC Billy Connolly: Portrait of a Lifetime documentary. John was moved and startled by Billy’s re-visiting of his favourite painting Christ of St John of the Cross by Salvador Dali. The comedian's childhood experience of Kelvingrove Art Gallery, and Dali’s work, so mirrored John’s own (born in Drumchapel, and growing up in 1960s Glasgow) that John decided to paint Billy’s portrait either standing in front of, or within, his favourite painting; it’s up to the viewer to decide. John's own Artist statement describes being 'born under the image of Christ of St John of the Cross by Salvador Dali'. This painting at Kelvingrove Art Gallery planted the seed for a love of art, and awakened the soul of this deaf kid from Drumchapel. When he first picked up a piece of charcoal and tried to draw as an adult it was a version of Dali’s work which John created. The title The Big Yins may be seen as controversial. But this is not the intention of the artist. John grew up in a Glasgow tenement in a sectarian district, with deep divisions between Catholics and Protestants. Dali's Christ of St John he viewed as a 'protestant' little boy, and fell in love. The theme of the painting is about the power of creativity to overcome sectarian divides, and to make peace. Connolly is not compared with a 'Christ' figure, except in the fact of facing suffering, and a hard road ahead. The Big Yins continues John's themes of suffering and strength, and the indomitable resilience of the human spirit. An outsider artist whose practice is the key to survival and relationship, following 17 years of profound deafness, John McDonald’s work declares: I’VE COME THROUGH MY DARK DARK DARK PERIOD AND IT’S MY PAINTING THAT’S GIVING ME LIGHT LIGHT LIGHT
The Big Yins is an homage to Salvador Dali, to Kelvingrove Art Gallery, Glasgow, and a portrait of Sir Billy Connolly. This painting was featured by BBC Arts in an article celebrating the 75th birthday of 'the big yin': Scottish comedian Sir Billy Connolly. The portrait of Billy Connolly is taken from the work of Photographer James Stenson, with whose kind permission The Big Yins was created. The original photograph was used for the internationally loved comedian to announce his diagnosis of Parkinson's disease in the media. The Big Yins is a large scale statement piece measuring 1 m x 1.5 m (3ft by 5ft). The upper part of the painting depicts Christ of St John of the Cross, after Salvador Dali, who was inspired by a tiny drawing by 12th Century Christian mystic. This is the origin of the dynamic perspective of the cross. The lower part of the painting features a vibrant yellow sky and a mountain and seascape, with two fisherman working their nets from a small boat. Beside this, painted in black and white, a portrait of comedian Billy Connolly, appears like a giant of a man. John was inspired to paint The Big Yins when he saw the BBC Billy Connolly: Portrait of a Lifetime documentary. John was moved and startled by Billy’s re-visiting of his favourite painting Christ of St John of the Cross by Salvador Dali. The comedian's childhood experience of Kelvingrove Art Gallery, and Dali’s work, so mirrored John’s own (born in Drumchapel, and growing up in 1960s Glasgow) that John decided to paint Billy’s portrait either standing in front of, or within, his favourite painting; it’s up to the viewer to decide. John's own Artist statement describes being 'born under the image of Christ of St John of the Cross by Salvador Dali'. This painting at Kelvingrove Art Gallery planted the seed for a love of art, and awakened the soul of this deaf kid from Drumchapel. When he first picked up a piece of charcoal and tried to draw as an adult it was a version of Dali’s work which John created. The title The Big Yins may be seen as controversial. But this is not the intention of the artist. John grew up in a Glasgow tenement in a sectarian district, with deep divisions between Catholics and Protestants. Dali's Christ of St John he viewed as a 'protestant' little boy, and fell in love. The theme of the painting is about the power of creativity to overcome sectarian divides, and to make peace. Connolly is not compared with a 'Christ' figure, except in the fact of facing suffering, and a hard road ahead. The Big Yins continues John's themes of suffering and strength, and the indomitable resilience of the human spirit. An outsider artist whose practice is the key to survival and relationship, following 17 years of profound deafness, John McDonald’s work declares: I’VE COME THROUGH MY DARK DARK DARK PERIOD AND IT’S MY PAINTING THAT’S GIVING ME LIGHT LIGHT LIGHT
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Homage to Salvador Dali The Big Yins portrait of Billy Connolly as seen on BBC Arts Painting

John McDonald

United Kingdom

Painting, Acrylic on Canvas

Size: 36 W x 60 H x 1.5 D in

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About The Artwork

The Big Yins is an homage to Salvador Dali, to Kelvingrove Art Gallery, Glasgow, and a portrait of Sir Billy Connolly. This painting was featured by BBC Arts in an article celebrating the 75th birthday of 'the big yin': Scottish comedian Sir Billy Connolly. The portrait of Billy Connolly is taken from the work of Photographer James Stenson, with whose kind permission The Big Yins was created. The original photograph was used for the internationally loved comedian to announce his diagnosis of Parkinson's disease in the media. The Big Yins is a large scale statement piece measuring 1 m x 1.5 m (3ft by 5ft). The upper part of the painting depicts Christ of St John of the Cross, after Salvador Dali, who was inspired by a tiny drawing by 12th Century Christian mystic. This is the origin of the dynamic perspective of the cross. The lower part of the painting features a vibrant yellow sky and a mountain and seascape, with two fisherman working their nets from a small boat. Beside this, painted in black and white, a portrait of comedian Billy Connolly, appears like a giant of a man. John was inspired to paint The Big Yins when he saw the BBC Billy Connolly: Portrait of a Lifetime documentary. John was moved and startled by Billy’s re-visiting of his favourite painting Christ of St John of the Cross by Salvador Dali. The comedian's childhood experience of Kelvingrove Art Gallery, and Dali’s work, so mirrored John’s own (born in Drumchapel, and growing up in 1960s Glasgow) that John decided to paint Billy’s portrait either standing in front of, or within, his favourite painting; it’s up to the viewer to decide. John's own Artist statement describes being 'born under the image of Christ of St John of the Cross by Salvador Dali'. This painting at Kelvingrove Art Gallery planted the seed for a love of art, and awakened the soul of this deaf kid from Drumchapel. When he first picked up a piece of charcoal and tried to draw as an adult it was a version of Dali’s work which John created. The title The Big Yins may be seen as controversial. But this is not the intention of the artist. John grew up in a Glasgow tenement in a sectarian district, with deep divisions between Catholics and Protestants. Dali's Christ of St John he viewed as a 'protestant' little boy, and fell in love. The theme of the painting is about the power of creativity to overcome sectarian divides, and to make peace. Connolly is not compared with a 'Christ' figure, except in the fact of facing suffering, and a hard road ahead. The Big Yins continues John's themes of suffering and strength, and the indomitable resilience of the human spirit. An outsider artist whose practice is the key to survival and relationship, following 17 years of profound deafness, John McDonald’s work declares: I’VE COME THROUGH MY DARK DARK DARK PERIOD AND IT’S MY PAINTING THAT’S GIVING ME LIGHT LIGHT LIGHT

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:36 W x 60 H x 1.5 D in

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Born in a Glasgow tenement in a sectarian district, I left school with a piece of paper (no certificates) saying that I was deaf and would be best employed in a noisy environment as everyone would be similarly disadvantaged. Born under the image of Christ of St John of the Cross by Salvador Dali. This huge painting in Kelvingrove art gallery seems to have an impact on me becoming an Artist in my 50s. Can I say that I spent years of my childhood evading gallery custodians and sliding along the polished floor under this painting? Unknown to me at the time, this painting by Dali, with its dynamic perspective and monumental scale, planted the seed for a love of art, and awakened the soul of this deaf kid from Drumchapel. When I first picked up a piece of charcoal as an adult and started to draw, it was a version of Dali's Christ of St John of the Cross which I created. Following a decade working in noisy environments, my real education began: in a Merseyside Unemployed Resource Centre. Training to become a Welfare Rights Officer I became hungry for education. In becoming mentally astute in the law, politics, and history that inform welfare and union work, I found, with naivety, myself. My fine art practice is informed by the dual and equal passions of my life: a passion for creative arts, and passionate campaigning for social justice. I have always been involved in the arts, through theatre, film, directing, and spoken word performance. For a long time I needed to shout, and I used performance to shout publically, about abuses and inequality I witnessed in mainstream services, to shout out for social justice, and educate on behalf of silent minorities. I am profoundly deaf and found that being involved in the arts was a way of being included. I started painting about 6 years ago on an old van that had been converted as a camper, just a plain white van that became a giant 3D canvas. I was conscious of passers by either watching or commenting, both were a challenge because of deafness but it was this situation that allowed me to be more included in my community and society in general. People liked my work and over a period of years as the van canvas was filled so was I, with confidence and more involvement with passers by, some who became friends. My painting is both the catalyst and the fruition of a personal journey towards peace.

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