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.






Churchill and Hitler
Archival inktjet, wood
80 x 175 x 10 cm
3ED/2AP

The pictorial and linguistic techniques, the norms and procedures belonging to the milieu of graphic design, thus form a habitat in which his work can unfold. In contrast to his colleagues, Daniel allows new images to emerge by shifting their context or linguistic definition. Their new context is a new form of observation, of perception.

We have seen man produce fire using stones, build pyramids with manpower and run crusades with conviction. Documentaries – for the general public – are more and more often furnished with actors and décors belonging to the context they are illuminating. Whenever that context approaches and overlaps the period of the film medium, it forces a critical attitude. Through the implementation of computers a (virtual) reality is created which has never been, or never as such. With the likes of YouTube, Facebook, MySpace, and other networks, these sorts of new images are quickly going to lead a life of their own.

The portraits of Churchill and Hitler came into existence with the launch of Discovery Channel’s (UK) programme ‘Virtual History’. Daniel considered these images a publicity stunt and put his finger in the wound in relation to digital image manipulation. These portraits point to a possible confusion in the perception of history. Hitler and Churchill are only represented as full-fledged mannequins years after their deaths. Although confronted at first sight both portraits are clear in their depiction. This new appearance of two historic, influential individuals, and their perfected execution creates, however, a new ethical approach regarding an advance in the use of digital media.

Kurt Geraerts
Elisa Platteau Galerie

Churchill
Archival inktjet, wood 80 x 175 x 10 cm 3ED/2AP
Hitler
Archival inktjet, wood 80 x 175 x 10 cm 3ED/2AP