My specialism is lateral thinking, resolving the complexity encountered in the world with reductive poetic logic. I intertwine commercial and cultural practice: responding to the paradox of daily life and the complexities of project assignments. I seek focused solutions that feel inevitable. I get there by starting at the beginning, asking why, what if… then making sense of the things I find with radical acceptance and by embracing truth.

Please follow me on Instagram. I am reposting works, exploring the things I have made over the past twenty years in preparation for the next twenty years.

Reflectometric, 2019
210mm x 297 A4 glass clip frame, acrylic paint
Edition of 60 signed and numbered copies, each unique

The clip frame backing board is marked in pencil, mapping geometric shapes and proportions relational to its dimensions and the four slot apertures. Colours are emotiomaticaly selected and combined, in rhythm to the mantra internalised, and applied at the intersection of lines. The final composition grows from the weight of the glass and the gentle squeeze exerted by the frames clips, spreading and connecting colours between the two surfaces. Made to be displayed in transitional spaces, to remind the viewer to be fully present.

Note on viewing: Each painting is its own universe, select one. Breathe slowly and deeply whilst observing the painting. Gradually let your gaze go out of focus. Meditate on the centre of the painting, allowing its geometry to bring your mind to a state of balance.






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Daniel : Your family seems to play quite a big part in a lot of your work, how much have they inspired/influenced/helped you throughout your career?

Dan: 100%

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Tim: Why have you not got any work from 1995 on your website?

Dan: Gap year

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Ric Carvalho: What would work as an answer to this question that is also the question that forms this response?

Dan: What?

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Yuri Doric: "At this same time many other websites I visited seamed to indulge in creating elaborate interfaces, often embellishing content with complex time consuming gimmicks." Is "seamed" a typo in this sentence—yours—or were you conscious of making a reference between materials, margins and junctions?

Dan: Typo

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Malina Cailean: We are curating an exhibition that explores equilibrium, consonance and discrepancy. A feng shui master will analyze the energy of the empty gallery and give us insight on how to organize the artworks. We would love to invite you to participate. May we contact you by email for further info? thanks, M

Dan: Yes

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kimoon: what is your favorite book?

Dan: Edward Ruscha's Every Building on the Sunset Strip

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Deb: What have you written on your business card? designer? artist? problem solver?

Dan: Name, address, email/website address and telephone number.

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Vaska: Is there a name for the spot where the beginning of a line, of a circle, meets itself?

Dan: ?

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Finola: I like paper cups, British paper cups are plastic. Do you like paper cups?

Dan: I like ceramic cups that you can wash and use more than once. My favorite cup is one I stole from Hans Brinker Hotel in Amsterdam in 1995. I liked the cups so much that I drank coffee from each morning of my stay, that I wanted to buy two when I was checking out. The hotel would not sell them, I was so disappointed, but then by chance I found two filled with cigaret butts on the window ledge outside the hotel that I rescued and brought back home. I have drank my morning coffee from them every day since then.

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Andi: For your pictures do you arrange the scenes/objects or do you just find the scenes/objects in everyday life?

Dan: I find and discover the situations/coincidences, I never arrange. The found subject is a readymades that I document, to intervene or arrange would destroy the work.

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iwakami: What do you like to cook/eat?

Dan: Vegetables, fruit, fish, meat / Brazilian black beans, carrot juice

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Eloisa: What "thank you" picture has made you laugh out loud lately?

Dan: I received two this morning from my Mum and Dad both titled ‘Dead End’ I am still laughing, but they all give me an inner-smile, its a pleasure to receive and share them.

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chi: Are your ingenious pencils for sale?

Dan: No

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Pasqual: Is there any way to include a search section in indexibit

Dan: This is the wrong place to ask technical questions about Indexhibit

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Airelle Depreux: I once was at one of your talks, and you passed your camera around the audience so that each person could take a photo of their right hand neighbour. Apparently you do this at all your talks, and are planning to use them in some way. What are you going to do? and when will we see it?

Dan: Not sure how to use them, not sure when you will see them.

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jorge vallecillos: hi there, I really love your work and I was wondering where I could buy "Imprint?"

Dan: Amazon

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hawken king: What do you have in your pockets?

Dan: Camera + £10

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Kasper Ledet: Do you have any education within art or design?

Dan: Design

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luke: if the value in indexhibit in the way it looks and functions - would you like other cms packages to adopt the same format?

Dan: No point in replicating what already exists, be great if people wanted to help out with Indexhibit to make it simpler and better

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Dan: Do you think you are making art and design mostly for an art and design audience?

Dan: For everybody

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Andrew Lee: Did you have any bread and butter jobs before embarking on your quest? If so how many and how varied were these positions ? Thanks.

Dan: I am allergic to dairy products so have always avoided butter, I prefer to dip bread in olive oil. I do have bread and olive oil jobs still.

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Tom: Why does it take you so long to answer these questions?

Dan: I forget to check / then I don’t have anything special to say

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iwakami: what are the best moments in a day of your life?

Dan: The eureka moment of discovery

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Rick: In some of your works you have asked people to participate for example "do something different." I am interested in knowing whether you consider the outcome the property of whoever made it or yours because it is your idea and you designed the system?

Dan: Shared, I credit each person to their contribution.

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Hannah: Do you carry out your projects with a reason or aim behind them, or do you have the idea (no matter how ridiculous) and pursue it just for the fun of exploration?

Dan: All projects are pursued for the fun of exploration. All projects are pursued for a reason. All projects are pursued with an aim. All projects are pursued with curiosity. All projects are pursued with belief All projects are pursued with love. All projects are pursued with excitement. All projects are pursued with passion. All projects are pursued with commitment. All projects are pursued with open arms. All projects are pursued without cigarettes.

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luke: is there a place for the commercial designer as commentator? do you feel a designer can / should involve their own agenda in a paid clients work?

Dan: I think its impossible not too: from the projects you accept; the people you work with; the food you eat; the cloths you wear; the way you live; each small choice/decision becomes apart of your larger social and political beliefs that directly or indirectly effect your design practice.

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James: Imagine: You produce a crappy trade magazine every quarter. You have been doing it since before you knew what design was about. There is no way to improve it, it is really really hideous and badly done. But it pays £2k a year. You hate it so much. Should you sever links or put up with it?

Dan: Depends how long it takes. - If you can make it in one day, thats £500 per day, thats pretty good. - If it takes two days to make, thats £250 per day, still pretty good. - If it takes ten days to make, thats £50 per day, if your just starting or things are tight then go for it. Anymore than ten days per issue I think you should quit.

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Steven: Do you think Indexhibit is or could become an archetype?

Dan: Indexhibit should be taken for granted, added too, customised, and apropriated in the same way the Post-it Note, a Postcard and bound pages in a book are. In this sense I believe the essence of Indexhibit is neutral, it is a blank space awaiting content without which it fails to exist. Things become archetypal because they work well, and have been embraced by the masses, generic things that are special because they try not to be special. To have helped create and defined an archetype would be my ultimate dream. I always wonder how rock bands feel once Muzak makes a version of their song to play in a supermarket, if I wrote songs that would be the ultimate.

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Simon: Who What When Where Why How?

Dan: Me/You This/That Now/Then Here/There Desire/Invitation Intuitively/Strategically

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simona: do you compromise?

Dan: To not compromise is unreasonable.

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Oliver Hydes: Do you think that drawing is the basis of all art?

Dan: Thinking

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Laura: Do you feel your work has to communicate an answer?

Dan: Yes, or pose a question.

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SFAUSTINA: Art or Design?

Dan: or

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James Boynton: How many efforts did it take to get the ball in the hoop when facing the wrong way?

Dan: One.

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Stefan Bömelburg: Great dance action! But how did you make those cars start alarming?

Dan: I danced to alarms that were already disturbing the peace. Positioned myself during the pause, then danced when the alarm sounded again.

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James Boynton: Which project that you have worked on (Foundation33, Eatock, University or personal etc) are you most proud of?

Dan: The newest.

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