Maximilian Daniels draws upon the repeated processes and materiality of painting; the mixing of colour, the delicate layering of surface, and the application of gestural marks slowly develop as a unique response to his studio surrounds, particularly the interplay of light and glass. Through repeating techniques used in his practice, Daniels creates work that examines colour and its relation to gesture and materiality. Each layer of material, primer and paint is visible as part of the superficial surface of the final image. The result is an image that holds both depth and flatness, and its own form of “temporal perspective”.
The inherent materiality of Maximilian Daniels’ work challenges and deconstructs commonly accepted notions of what constitutes an image. Although very much informed by the process of observation and representation, the final image is devoid of all figurative imagery. Through using each process and material as both subject and substance for creating the image, Daniels elucidates a novel approach to the ‘image’ and the painting process.
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