ZENTRUM / CENTER (cycle no. seven) 

Berlin, 2023

parachute silk, pulley system, programmed stepper motor and electric components. 

422 x 230 x 430 cm 

ZENTRUM (cycle no. seven) 

_AFLOAT NO. ONE_

2023

Fragment of damaged carbon fibre und kevlar sail, segments of carbon fiber fishing rods, altered stainless steel boat fittings, nylon boat dock cleats 48 x 68 x 10 cm / 18 7/8 x 26 3/4 x 3 7/8 in Unique

Through solo exhibition _AFLOAT,_ the artist Daniel Hölzl delves into the transformative journeys of carbon and water, fundamental elements of the fabric of life. Water that permeates all organisms, once intertwined with carbon, forms the foundation of life's molecular structures. Hölzl’s work draws inspiration from the philosophical paradox of the _Ship of Theseus_, reflecting on the notion of permanence and the history as well as fluidity of materials. AFLOAT also addresses the ecological challenges posed by petroleum reliance and the presence of floating plastic waste in contrast to the romanticized idea of sailing.

In his series _AFLOAT_ Daniel Hölzl examines the intricate relationship between sustainability, temporality, and transience, focusing on the transformation of petroleum into synthetic fibers. Modern sails, layers of synthetic fibres glued together with resin and therefore nearly impossible to recycle, are given new life in this works. Used, damaged sails are creatively combined with misappropriated objects from the nautical world. By incorporating sails, renowned symbols of freedom and exploration, the artist delves into the history of materials and the fluidity of their meaning.

AFLOAT NO. ONE 

**BYCATCH**

  
2022, A collaboration of Abie Franklin and Daniel Hölzl

  
The installation BYCATCH, by the Berlin-based artists Abie Franklin and Daniel Hölzl, investigates permeable borders between human and non-human agents. Intertwined natural phenomena like pollution, shifting landmasses and the rise of the sea level juxtapose human-made strategies of defence and (self-) destruction. The hybrid landscape offers participants an immersive experience while reflecting: what is a soft, hard or porous border? How can those boundaries be crossed, relocated or removed? And what bycatch are we willing to accept in the process?

BYCATCH

With GROUNDED, the artist presents an immersive and architectural installation that extends across the entire gallery space. In the entrance area, the wingless skeleton of a model DA42-VI aircraft is installed nose-down, suspended diagonally from the ceiling. Titled END-OF-LIFE cycle one, the piece points to the descent of the downstairs gallery space. A sprawling floor installation, END-OF-LIFE cycle two, that is composed of recycled carbon fiber and paraffin wax covers the exhibition floor; it is a fragmentary to-scale visual transfer of the decommissioned runway at Tempelhof airport, Berlin. A series of small-to-large-format paintings made of the same materials, detailing industrial design and aircraft life cycles, hang on the wall, some placed proportionally to resemble airplane windows and others matching the scale of mechanical objects within the space. These themes are reflected in the sculpture titled END-OF-LIFE cycle four, which consists of a wax landing gear and three aircraft tires from an Airbus A300 and a fourth tire in the form of an ephemeral paraffin sculpture that is slowly melting away throughout the course of the exhibition.

  
“Daniel Hölzl’s solo exhibition, is permeated with carbon and wax, crucial substances in the structure and operations of human technol- ogies such as aviation...These materials find their way into Hölzl’s works through a series of wax paintings on carbon fiber, ready-made components, and sculptural parts, all of which are in some way extracted from the aviation industry and connected to notions of being grounded. GROUNDED is not just the presentation of a series of works by an artist, but the creation of a unified yet complex world made up of substances, materials, and forms that reflect the conceptual, historical, and social concerns guiding the artist’s research and practice. By reconstituting the entire gallery as an “aviatorial space,” Hölzl establishes a setting for probing reflections on the connections between nature, science, and industrialization through the overlapping history of aviation technologies and the recently renewed European legacy of war and conflict, highlighting the integral role of petroleum.

While possessing abstract qualities associated with formalism, GROUNDED points to aviation’s dangers and limitations, rendering its exist- ing characteristics like petroleum dependency and utilization in permanent wars around the world as already outmoded, grotesque, and nostalgic.

  
While possessing abstract qualities associated with formalism, GROUNDED points to aviation’s dangers and limitations, rendering its exist- ing characteristics like petroleum dependency and utilization in permanent wars around the world as already outmoded, grotesque, and nostalgic.

We must ask ourselves: What kinds of materials, forms, and sources of energy can significantly enhance our aviatorial abilities while having the least impact on the environment? Can we essentially transition from capitalism to a post-oil economy? What roles can innovation and automation play in these transitions? And what will be grounded in the future?” - Mohammad Salemy

END-OF-LIFE cycle four

With GROUNDED, the artist presents an immersive and architectural installation that extends across the entire gallery space. In the entrance area, the wingless skeleton of a model DA42-VI aircraft is installed nose-down, suspended diagonally from the ceiling. Titled END-OF-LIFE cycle one, the piece points to the descent of the downstairs gallery space. A sprawling floor installation, END-OF-LIFE cycle two, that is composed of recycled carbon fiber and paraffin wax covers the exhibition floor; it is a fragmentary to-scale visual transfer of the decommissioned runway at Tempelhof airport, Berlin. A series of small-to-large-format paintings made of the same materials, detailing industrial design and aircraft life cycles, hang on the wall, some placed proportionally to resemble airplane windows and others matching the scale of mechanical objects within the space. These themes are reflected in the sculpture titled END-OF-LIFE cycle four, which consists of a wax landing gear and three aircraft tires from an Airbus A300 and a fourth tire in the form of an ephemeral paraffin sculpture that is slowly melting away throughout the course of the exhibition.

“Daniel Hölzl’s solo exhibition, is permeated with carbon and wax, crucial substances in the structure and operations of human technol- ogies such as aviation...These materials find their way into Hölzl’s works through a series of wax paintings on carbon fiber, ready-made components, and sculptural parts, all of which are in some way extracted from the aviation industry and connected to notions of being grounded. GROUNDED is not just the presentation of a series of works by an artist, but the creation of a unified yet complex world made up of substances, materials, and forms that reflect the conceptual, historical, and social concerns guiding the artist’s research and practice. By reconstituting the entire gallery as an “aviatorial space,” Hölzl establishes a setting for probing reflections on the connections between nature, science, and industrialization through the overlapping history of aviation technologies and the recently renewed European legacy of war and conflict, highlighting the integral role of petroleum.

While possessing abstract qualities associated with formalism, GROUNDED points to aviation’s dangers and limitations, rendering its exist- ing characteristics like petroleum dependency and utilization in permanent wars around the world as already outmoded, grotesque, and nostalgic.

While possessing abstract qualities associated with formalism, GROUNDED points to aviation’s dangers and limitations, rendering its exist- ing characteristics like petroleum dependency and utilization in permanent wars around the world as already outmoded, grotesque, and nostalgic.

We must ask ourselves: What kinds of materials, forms, and sources of energy can significantly enhance our aviatorial abilities while having the least impact on the environment? Can we essentially transition from capitalism to a post-oil economy? What roles can innovation and automation play in these transitions? And what will be grounded in the future?” - Mohammad Salemy

GROUNDED

From the Spatial Drift Series, exploring external and internal spaces activated by the shaped  spatial artwork. 

Spatial Drift No.7

The “Future Monument Series” "How might we imagine a future monument or the idea of a monument?” For me, the monument of the future does not uphold existing structures. It is neither dominating, oppressive, predetermined, nor physically definable. Instead, it is light, space, movement -- expanding our perception to open our imagination to other futures. I construct the works through a meditative method. They are painted over transparently primed linen that seeps through the translucent layering of paint into the illusionistic weightlessness of the abstracted forms. The paintings are made using basic tools, paper tape, and pencils. The glazing layers are built up through many watery applications of high pigment acrylic. A prominent part of my work is using color aiming to affect the perception of the viewer. In the work, a complex organisation of form and structure comes into play to guide the viewer in relationships offered through illuminated hues and fleeting perspectives of aerial compositions. Are they thresholds? Portals? Space and weightless architecture remain present in the imaginative universe of the viewer. 

Lemnos No.3

In Bloom finds herself in a time of new development, a time where her body starts a new phase.
Spruce with Oil 

In Bloom

Artwork inspired from the pictorialist movement.

Walking Brutus

The creation is inspired by the unique aesthetics of the RBA Building, incorporating its distinctive geometric patterns and _modernista_ elements in a work of video projection mapping designed especially for the space. The work transforms the building into a living structure, where the solid architecture interacts with fluid digital projections. The star of the installation is the façade’s system of window blinds, meticulously recreated in a 3D environment. This virtualisation allows for creating an illusion of realistic lighting effects and physical distortions transcending the static boundaries of the architecture — offering viewers an abstract, dreamlike interpretation of the building reflecting on its own architectural structure. 

  
Video documentation: https://vimeo.com/danielrossa/metatecture

Metatecture

Before, the Here and After is an installation that is constantly evolving in both its physical and digital form. The structure that is constantly changing, being collected and renewed as we forage the shoreline for discarding fishing waste. The projected part is a generative work, a program that runs, constantly renewing its form. When we discovered the reality of ghost nets we instantly identified the striking resemblance of digital generative networks and the destruction of life at sea. The digital networks produce elements that have a life and a death, pre determined by our control of the code. The nets also have a cyclical life, they attract and detract life, destroying and creating at the same time, relying on these cycles in order to exist.

reviewed: "For the Bexhill After Dark Festival, ZEROH presented the evolving installation Before, the Here and After, a striking piece suspended within the cavernous void of Beulah Baptist Church in Bexhill-on-Sea. This work, a collaboration between artists ZEROH and the sound duo Nicola and Ian Stick In The Wheel, occupies a space between the digital and the organic, an ever-changing entity created through noise maps and complex algorithms. At its core, it represents a life force that refuses to remain static, perpetually morphing and regenerating.

  
Before, the Here and After is deeply embedded in the theme of environmental collapse, specifically referencing the ubiquitous and destructive phenomenon of 'ghost nets'. These discarded remnants of industrial fishing—often abandoned by the sea—form vast, tangled structures that pose an ongoing threat to marine life. Made from synthetic fibres, these nets, after being abandoned, drift across the ocean, silently ensnaring sea creatures, only to sink once weighted down by their catch. In a grim cycle, once the prey decomposes, the nets resurface, repeating their deadly task. The visual work reflects this cyclical violence, with its digital entity emulating the autonomous, almost organic processes of these nets: a continuous evolution driven by systems of birth, death, and decay.

  
The installation's conceptual depth lies in its parallels to the ghost nets themselves—both digital and physical constructs driven by autonomous systems, reliant on perpetual cycles of life and dissolution. Through its evolving nature, the piece evokes a sense of urgency, a reflection on both human impact and the natural world's struggle for survival. The accompanying soundscape, composed by Nicola and Ian Stick In The Wheel, amplifies this sense of dissolution, with its haunting tones creating a sonic environment that mirrors the work's digital entity: an unsettling, omnipresent force that refuses to be ignored.”

  
The piece succeeds in its exploration of the tension between creation and destruction, emphasising how humanity’s actions—so often unseen and forgotten—continue to ripple through the environment, often with catastrophic consequences."

Before, the Here and After

Video produced for the track 'Ruins' by the band Stick in The Wheel. Through this artform we can deliver a comment about our broken world by way of accompanying a message from 10 Centuries ago, which serves to highlight the cyclical nature of the abject horrors humans inflict on one another.

  
https://www.youtube.com/watch?v=MEVaQugIUO4

Ruins

Following on from the success of our 2022 ‘Caught a Curiosity’ project for Hastings Storytelling Festival we were commissioned to devise a follow up project for the 2023 edition focusing specifically on the community in Broomgrove, an estate and ward of Hastings to the north of the town which experiences very little engagement with the wider community and high levels of unemployment.

The Broomgrove Eclipse was a multi-strand project which built momentum toward an interactive storytelling event featuring secret messages and symbols hidden around the estate, a lit up pylon and a display of the Eclipse on a 5m LED screen in the community centre car park.

As a further development of our Curious Kids Festival Moth Trap project we held a series of workshops with community youth projects, In2Play and Motivate, and engaged their young people in the process of patterning Moth wings in order to become part of ‘The Broomgrove Eclipse’ (Eclipse being the collective name for a group of Moths) to be presented, large scale, on the weekend of the Festival. The young people were given moth wing templates which featured information on the species and clues as to how they are patterned in nature and we very much encouraged pattern development through colour and collage so those taking part created a moth distinguishable as their own and identifiable in the Eclipse.

To create legacy for the project we worked with developer Kester Sheridan for the Eclipse to be an interactive Augmented Reality (AR) experience available as a web AR app at the end of the project. We also commissioned Psychogeography author Gareth E. Rees, with whom we had previously worked with on our MOTHer project in 2018, to write a narrative taking in some of the history of the area and a how a Power Station, which dominated the landscape and provided jobs to the local community, decommissioned in 1997, brought about a new type of Moth which would help in global pollination efforts with the decline of Bees due to climate change and pollution.

We wanted to install a sense of pride and wonder in the young people of Broomgrove giving a focused experience unique to them and the narrative of their community while highlighting conversations around climate change and human influence. On the night of the Broomgrove Eclipse professional storyteller Amelia Armande guided the young people to various locations around the estate revealing elements of the story, artwork and interventions and bringing the project to life. The symbols mentioned in the narrative were applied to walls and fencing with UV paint and all those on the trail were given UV light keyrings so they could individually find and explore the story elements. On site there was a 5m LED screen which featured the Eclipse made from the results of the Moths created during the workshops and a photobooth set up, developed by Kester Sheridan, which allowed attendees to have their photos taken and applied to a Moth UV map and added to the Eclipse there and then. By the end of the evening there were 123 Moths in the Eclipse.

One significant quote from the evening was the fact that kids from all over the normally divided estate came together without any trouble and experienced something that they would hopefully remember for a long time to come.

Cllr Andy Batsford, lead councillor for Health and Culture, said: "It was great to see so many of the local community and people from the wider town come together to enjoy this immersive multimedia experience, despite the weather! I really enjoyed seeing the creative unique moth patterns projected onto the huge screen which were crafted by local children, this is all part of using culture, music and art to really energise Broomgrove."

  

Broomgrove Eclipse

STICK IN THE WHEEL – LIVE 2023 Early Summer 2023 saw us work with electronic folk band Stick in the Wheel on two live performances under specific sets of circumstances. The first performance at Kings Place, London was a 360 audio event as part of the venues ‘Sound Unwrapped’ series of concerts, presented as a special audio experience utilising d&b audiotechnik’s surround sound Soundscape system. The second performance took place at Brighton Dome as part of Brighton Festival 2023\. In both cases we presented visuals which interacted with the audio and the band in subtle yet powerful ways. We produced a specific set of visuals which created hypnotic moments of immersion, utilizing Shark Tooth gauze which appears both transparent and opaque depending on whether it is front or back lit. We set the gauze in front of the band to create a presentaion which appeared immersive and ethereal, enveloping the the band in our film and animation work. Spinning geometric shapes appeared to cage vocalist Nicola Kearey with trees growing from her songbook, drone footage highlighted the ruins brought about by war in Ukraine, turbulent and erratic storm blown graphics matched the acid line arpeggios and energy of ‘Devils Nag’, a reinterpreted 17th Century Morris Dance melody.

Stick In The Wheel_Live_Projections

In October 2022 we were commissioned by Hastings long running Storytelling Festival to produce a digital spectacle for their Saturday evening programme, to follow on from a screening of the popular childrens film ‘How to Train Your Dragon’ and a Q&A with author Cressida Cowell. Initial suggestions from the festival included projection mapping in some capacity on to buildings in Hastings town centre but we wanted to produce something away from the seafront, where so much of Hastings cultural activity takes place, and engage a wider audience who wouldn’t necessarily attend the festivals events. We devised an idea around the notion of a curiosity in transit, creating a travelling spectacle to visit the local communities so often neglected by the towns cultural offerings and present something that would potentially trigger conversation and perhaps storytelling from those who witnessed it. The ‘curiosity’ was designed as a strange creature which, having been washed ashore, was now being transported to an undisclosed facility in order to undergo a series of tests to determine what the creature actually was and where it may have come from. The vehicle transporting the ‘curiosity’ had to make several stops on route as the creature had not traveled before and would require regular breaks in order to maintain calm. Using a three sided LED advertising van we created the illusion of a tank of illuminated dense liquid which contained the creature. The ‘curiosity’ started as an amoeba shape shifting over time to become a complex other worldly presence which, occasionally, appeared to acknowledge the audience. On arrival at the pre-publicised locations the van was cordoned off with traffic cones and hazard tape and once an audience had gathered the ‘shutters’, on the van, would rise. At several locations we had a waiting audience, sat on deck chairs, no-one knowing quite what to expect. As the ‘curiosity’ became more active the audience chased it from one side of the van to the other trying to catch a look at it mutating.

Caught a Curiosity

Artist and Filmmaker Andrew Kötting commissioned ZEROH along with 3 other artists to present new work in St.Clements Church in Old Romney as part of the annual Art in Romney Marsh series of exhibitions. ZEROH created a moth from edge lit perspex featuring an etched pattern which fluctuated in luminescence and tone with the changing light that came in through the main window in the church. St.Clements is the resting place of Artist and Film Director Derek Jarman. Special thanks to Iberian Lighting, Hastings.

Romney Moth

Ghost like apparitions of heavily patterned moths camouflaged for an urban setting invade Hastings and St.Leonards. These transient imprints of nature clothed in geometry lay at rest across the towns architecture. The Hastings Moths Project is a bold statement on the state of metamorphosis the historic town finds itself in at this time. The town wide installation is part of the 'Art in Spaces' scheme initiated by Hastings Borough Council with funding from the Arts Council England.

Hastings Moths

We took over a shop window on the seafront in St.Leonards on Sea in East Sussex Feb - May 2023 and did various projections some illusionary, some projection mapping some straight projections.

  

Shop Not Shop

After an 8 month residency creatively managing and directing a 'Digital Arts Hub' in Hastings we ended the tenure by holding an exhibition of the work produced during that time. The exhibition featured 300 3D print portraits of members of the public who came into the hub for a Lidar scan portrait, some life size augmented reality portraits, 3 lidar scan collages and video works featuring the portraits. The exhibition ran for a week and on the closing night we invited all those who had been scanned to come and collect their 3D printed portraits. During the courser of the project each subject was given a unique QR code so they could access there AR 3D portrait online.

  

People of Hastings

'WaveLength' is the second project for us in Bottle Alley, along Hastings seafront, and what started as a temporary commission from the arts festival 'Coastal Currents' in September 2017 and is now a permanent fixture due to the overwhelmingly positive public response. The first project 'Point of Decay' highlighted the decline of the walkway after years of neglect using temporary bio degradable paste ups we curated an outdoor gallery along the 500 meter expance, 'WaveLength' comes after the repairs were done and serves as a celebration of the space and an attempt to re-establish Bottle Alley as a safe space of social recreational activity using the installation and a series of events. The 113 columns along the 500 m passage were painted to create two gradients east west (Hastings to St. Leonards) and west east (St. Leonards to Hastings) using a palette of 110 colours. The project is an exploration of rhythm and colour in a unique space, referencing the environment in which it sits. 

  
In 2023 the project was revived due to public demand after the installation was 'whited-out' by the local council after graffiti too over the space during lockdown in 2020-2021\. We re-imagined the project as an experiement in collective ownership of a public artwork and have a list of over 300 volunteers who help us maintain the work.

Wavelength

Commissioned for Coastal Currents 2018, ‘MOTHer’ was a narrative based project housed in an Augmented Reality app featuring real world components and interventions. It acted as an origin story for The Hastings Moth Project, 2010, taking influence from folklore and the notion of myth-making in the era of ‘Fake News’. It featured a specially commissioned narrative entitled ‘It Came From The Sea’, written by Hastings based author and Unoffical Britian founder/ editor Gareth E Rees, which imagined an alternate reality where the Moths landed on the walls of Hastings and St.Leonards from a very different source but with the same intentions. We asked Gareth to create a narrative that touched on invasion b-movies, social paranoia and community in the time of Brexit. We worked with award winning 3D artist/ modeler Gocken Yuksek whose models have featured on NetFlix’s Black Mirror to create the characters for the AR. The story is told as recounted memories by singer and musician Jessica Banks, in her first role as voice over artist. It was all held together inside an app developed for us by Alister Clarkson from Shape of Sound. The wider story featured further collaborations with actor/ playwrite John Knowles, ethical taxidermist Jazmine Miles-Long and Sea Shanty writer/ singer Bob Tipler.

MOTHer

“Bottle Alley, Hastings is one of those unique spaces that has always captured our imaginations. It’s unrelenting 440meters of concrete is hard and linear, framing the sea on one side so the experience of walking/ promenading is elevated out of being a dreary underground passage cut through, to one of a beach side gallery.” POINT OF DECAY was an outdoor subterranean street art installation of wheat paste post ups, devised and curated by us, works printed on super thin copy paper covering the 112 columns over half a kilometer long installation. Bottle Alley’s decline over the last decade or so has reached the point where something has to be done in order to save this unique feature, on Hastings seafront, from being lost forever. Finances were put in place to treat and repair the very worst of the decay in early 2016 allowing us the unique opportunity to present an installation of local artists in the space, a first in Bottle Alley’s 80 year history. We commissioned 16 local artists to create original artwork for the columns that line the alleyway, in response to and utilising the crumbling and blown nature of the architecture, creating second skins for the supports, that embrace the state Bottle Alley finds itself in. The artworks, attached using wheat paste, were from a wide ranging group of artists – printmakers, photographers, sculptors, painters and interventionists – some of whom presented their work as print for the very first time. The artworks are wrapped around all four sides of the columns therefore giving 4 view points of all the artwork, including from the beach. The installation remained in place for as long as possible allowing environmental factors and the general public to aid its decay. The opening event, attended by over 1,500 people over the course of 2 hours, featured The Rayner Hess Trio playing a selection of classical pieces as the sunset in the bastion nearest the pier, which had just opened.

Point of Decay

A Family out for a morning stroll in DTLA.

A Family Outing 

A woman descends into the bowels of the Los Angeles Metro. 

A Light From Above

The Orpheum Theatre. One of many rehabilitated Movie Palaces on the famous Broadway in DTLA.

Orpheum Addiction

Tokyo: One of the Ubiquitous Salarymen, partaking in a late-night dinner at a local noodle shop. 

A Salaryman's Night Out

The Pacific Coast Highway crossing in Santa Monica, California. 

End to the Road 

A busy night on Broadway in Downtown L.A. Home of the turn of the century movie palaces. 

Road Rage

The Getty Tram returns to the parking lot as LA commuters make their trek home at rush hour. 

Homeward Bound 

A Downtown LA Street at the height of the Covid pandemic

Ghost Town

A hidden passage underneath Grand Avenue, DTLA

The Jaw or Light

Los Angeles Theatre. Oldest Movie Palace in America 

LA Noir

Name: Seeking God

Style: Expressionist

Original: Yes (Only one in existence)

Canvas: Level 3 Gallery Wrapped Heavy Duty Canvas by Artist's Loft®

Length and Width: 30x48in

Depth: 1.5in

Inspiration: A hooded figure climbs the infinite path, seeking God in oblivion.

Secret: Normal and blacklight painting.

Frame: Unframed (frame not included)

Textured: Yes

Smell: None

Birthplace: California

Varnish: No varnish has been added.

Signed: Bottom right has my signature. It was not signed when I took the video. The back has the year.

Art "Seeking God" by DFB Original Abstract Acrylic Painting on 30x48x1.5in Canvas

Name: Purposeless

Style: Expression/Abstract

Original: Yes (Only one in existence)

Canvas: Level 3 Gallery Wrapped Heavy Duty Canvas by Artist's Loft®

Length and Width: 48x30in

Depth: 1.5in

Inspiration: Not knowing what you have to do in the little time given you.

Secret: Normal and black light painting

Frame: Unframed (frame not included)

Textured: Somewhat

Smell: None

Birthplace: Orange County

Varnish: A gloss varnish has been added.

Signed: Bottom right is my signature. The back has the year along with name and another signature.

Art "Purposeless" by DFB Original Abstract Acrylic Painting on 48x30x1.5in Canvas

**AUSHANG**

  
2021, Berlin, parachute silk, digital mixed flow fan, electronic components 

AUSHANG

LIVE BAIT 

Berlin,

2023, 

Carbon fiber fishing rods, various bundles, 4 - 8 meters in length, connected by boat railing elements/stainless steel, recycled paraffin wax sculpture (1:1 oil barrel) and heating element.

LIVE BAIT 

Name: My World 1

Style: Expressionist

Original: Yes (Only one in existence)

Canvas: Level 3 Gallery Wrapped Heavy Duty Canvas by Artist's Loft®

Length and Width: 30x48in

Depth: 1.5in

Inspiration: **First scenery piece which was a joy. I imagined what lush mountains would look like if I could create a world.**

Secret: None

Frame: Unframed (frame not included)

Textured: Yes

Smell: None

Birthplace: California

Varnish: No varnish has been added.

Signed: Bottom right is my signature. The back has the year.

Art "My World 1" by DFB Original Abstract Acrylic Painting on 30x48x1.5in Canvas

Name: Eye Number 4

Style: Expression/Abstract

Original: Yes (Only one in existence)

Canvas: Level 3 Gallery Wrapped Heavy Duty Canvas by Artist's Loft®

Length and Width: 48x30in

Depth: 1.5in

Inspiration: **Eyes are windows to the soul.**

Secret: Normal and black light painting

Frame: Unframed (frame not included)

Textured: Somewhat

Smell: None

Birthplace: Orange County

Varnish: No varnish has been added.

Signed: Bottom right is my signature (pictures were taken before I signed). The back has the year.

Art "Eye Number 4" by DFB Original Abstract Acrylic Painting on 48x30x1.5in Canvas

Name: Eye Number 3

Style: Abstract

Original: Yes (Only one in existence)

Canvas: Level 3 Gallery Wrapped Heavy Duty Canvas by Artist's Loft®

Length and Width: 36x24in

Depth: 1.5in

Inspiration: Hope.

Secret: None

Frame: Unframed (frame not included)

Textured: No

Smell: None

Birthplace: Orange County

Varnish: No varnish has been added.

Signed: The back has my signature and the year.

Art "Eye Number 3" by DFB Original Abstract Acrylic Painting on 36x24x1.5in Canvas

Name: Eye Number 1

Style: Abstract

Original: Yes (Only one in existence)

Canvas: Level 2 Gallery Wrapped Traditional Canvas by Artist's Loft®

Length and Width: 36x24in

Depth: 0.75in

Inspiration: **Tears on the inside.**

Secret: None

Frame: Unframed (frame not included)

Textured: No

Smell: None

Birthplace: Orange County

Varnish: No varnish has been added.

Signed: Bottom right is my signature. The back has the year.

Art "Eye Number 1" by DFB Original Abstract Acrylic Painting on 36x24x0.75in Canvas

Name: Shiver

Style: Abstract

Original: Yes (Only one in existence)

Canvas: Level 2 Gallery Wrapped Traditional Canvas by Artist's Loft®

Length and Width: 48x36in

Inspiration: **What inspired me was to change an older piece like I did with "Cosmic Eyes." Whilst painting, I kept picturing a path. A trial of peril through oblivion. That chosen conflict is frightening but necessary. This captures that clash, that crash, and then supernova.**

**The next question is asking: Why? What is the point? Only the individual can answer.**

Depth: 0.75in

Secret: None

Frame: Unframed (frame not included)

Textured: Somewhat

Smell: None

Birthplace: Orange County

Varnish: No varnish has been added.

Signed: Bottom right. Year is on back.

Art "Shiver" by DFB Original Abstract Acrylic Painting on 36x48x0.75in Canvas

Name: "The Woman" (Goddess Series 1)

Style: Expressionist

Original: Yes (Only one in existence)

Canvas: Level 3 Gallery Wrapped Heavy Duty Canvas by Artist's Loft®

Length and Width: 30x48in

Depth: 1.5in

Inspiration: **The female form should be celebrated for it is the most beautiful.**

Secret: None

Frame: Unframed (frame not included)

Textured: Yes

Smell: None

Birthplace: California

Varnish: No varnish has been added.

Signed: Bottom right is my signature. The back has the year.

Art "The Woman" (Goddess Series 1) by DFB Original Abstract Acrylic Painting on 30x48x1.5in Canvas

Name: Cosmic Eyes

Style: Expression/Abstract

Original: Yes (Only one in existence)

Canvas: Level 3 Gallery Wrapped Heavy Duty Canvas by Artist's Loft®

Length and Width: 48x24in

Depth: 1.5in

Inspiration: **The heavens always look back. I never feel alone when I look up at the sparkling wonders.**

Secret: Normal and black light painting

Frame: Unframed (frame not included)

Textured: Somewhat

Smell: None

Birthplace: Orange County

Varnish: No varnish has been added.

Signed: Bottom right is my signature.

Art "Cosmic Eyes" by DFB Original Abstract Acrylic Painting on 48x24x1.5in Canvas

Name: Love Vetoed

Style: Abstract

Original: Yes (Only one in existence)

Canvas: Level 2 Gallery Wrapped Traditional Canvas by Artist's Loft®

Length and Width: 40x30in

Depth: 0.75in

Inspiration: **My inspiration came from my memories when I was rejected by someone I loved, and when I rejected those who loved me. I think we have all experienced one side of this or the other. Probably both sides more than likely. Hands reaching, heart sinking, eyes crying, words silencing, feelings escaping, life twisting, and echoes fading.**

Secret: None

Frame: Unframed (frame not included)

Textured: No

Smell: None

Birthplace: California

Varnish: No varnish has been added.

Signed: Bottom right is my signature. The back has the year along with name and signature.

Art "Love Vetoed" by DFB Original Abstract Acrylic Painting on 40x30x0.75in Canvas

Name: Crossroads

Style: Abstract

Original: Yes (Only one in existence)

Canvas: Level 2 Gallery Wrapped Traditional Canvas by Artist's Loft®

Length and Width: 40x30in

Depth: 0.75in

Inspiration: **Here is a person standing at the crossroads, witnessing the end. Which path would you take?**

Secret: None

Frame: Unframed (frame not included)

Textured: No

Smell: None

Birthplace: California

Varnish: No varnish has been added.

Signed: Bottom right is my signature. The back has the year along with name and signature.

Art "Crossroads" by DFB Original Abstract Acrylic Painting on 40x30x0.75in Canvas

Name: What Follows (Mask 2)

Style: Abstract Expressionist

Original: Yes (Only one in existence)

Canvas: Level 3 Gallery Wrapped Heavy Duty Canvas by Artist's Loft®

Length and Width: 30x30in

Depth: 1.5in

Inspiration: **What will you wear after your choice? What will follow you for eternity?**

Secret: None

Frame: Unframed (frame not included)

Textured: Yes

Smell: None

Birthplace: California

Varnish: Gloss varnish has been added.

Signed: Bottom right is my signature. The back has the year along with name and signature.

Art "What Follows" (Mask Series 2) by DFB Original Abstract Acrylic Painting on 30x30x1.5in Canvas

Name: I cannot scream

Style: Abstract

Original: Yes (Only one in existence)

Canvas: Level 2 Gallery Wrapped Traditional Canvas by Artist's Loft®

Length and Width: 40x30in

Depth: 0.75in

Inspiration: **Fear**

Secret: None

Frame: Unframed (frame not included)

Textured: No

Smell: None

Birthplace: California

Varnish: No varnish has been added.

Signed: Bottom right is my signature. The back has the year along with name and signature.

Art "I cannot scream" by DFB Original Abstract Acrylic Painting on 40x30x0.75in Canvas

Name: Devour (Mask 1)

Style: Expressionist

Original: Yes (Only one in existence)

Canvas: Level 3 Gallery Wrapped Heavy Duty Canvas by Artist's Loft®

Length and Width: 30x48in

Depth: 1.5in

Inspiration: **The mask you wear will consume you.**

Secret: None

Frame: Unframed (frame not included)

Textured: Yes

Smell: None

Birthplace: California

Varnish: No varnish has been added.

Signed: Bottom right is my signature. The back has the year.

Art "Devour" (Mask Series 1) by DFB Original Abstract Acrylic Painting on 30x48x1.5in Canvas

Zeitfenster / cycle no. four

1 : 1 replica of the sculpture Ball Drop by Walter De Maria wich was part of a series called Boxes For Meaningless Work.

According to the Gagosian the Estate of Walter de Maria forbids the interaction with all the objects shown in their exhibition, regardless of their original intention. Exactly one week after the interactions with the replica in front of the gallery, three days after a group show in London in which this project was also presented and after multiple unanswered social media ‘reach-outs’, the Gagosian posted a video of them dropping the ball into the original sculpture. This piece therefore becomes process art not only via its own inter- rogation of gallery practices but also through the documentation of the actions of the Gagosian itself.

Excerpt from Gagosian’s press release for the Idea to Action to Obtject exhibition in 2019 : 

> “When it was originally shown at the 9 Great Jones Street gallery in 1963, the viewer was invited to take the ball and drop it through the top hole, causing a sharp bang. Here, however, the ball remains static, charged with potential energy, like the solid stainless-steel ball in 14-Sided Open Polygon (1984).”

Ball Drop

Inspired by the a regurgitation of past styles of Brazilian architecture, amalgamated with modern details blended and twisted to form a new interpretation of today's facades to form a mash that left the eye disorientated with a a composite of ingredients, namely the inspiration he sought from the new and landscapes of the Brazil of today. His main tools are still photography and superpositions of images that transforms his interpretations of the existing shapes of the city of São Paulo. He used images of The Ibirapuera Auditorium (Portuguese: Auditório Ibirapuera) is a building conceived by Oscar Niemeyer for the presentation of musical spectacles, situated in Ibirapuera Park in São Paulo and the classic pattern of tiles square modules in white and black geometric pieces, behind the modules that graphically conform the map of the state of São Paulo was created in 1966 by the architect and artist Mirthes dos Santos Pinto. He played with the idea of a bug in the park. walking through the park , or many times, through the different lawns of a city.

Joaninha no parque

My Grandad's best knife and steel. Important objects to a retired butcher.

Knife and Steel

A meal we learned how to make as kids when we stayed with my dad.

Brown Sauce Buttys

A drawing of the memory of my Grandad's kitchen. 

Grandad Tom's Kitchen

Vortex No.1

Lemnos No.4

Slouching Towards No.6

Colorfield Osmosis

Ephemeral field

Never Let Me Go

Carry It High is proud to show it all, your emotion, burden and joy


Carry It High

Acrophobe is only slightly afraid of the high space he finds himself in, higher than others. 
Solid White Oak with Oil

Acrophobe I

Object of a figural sculpture collection called Turbofolk which is a moralistic call to reflect on today’s consumer-oriented world.

Point of View

Badman

Superman

Once Upon a Time in Teen Age

Black Lives Matter

His Holiness

Bird catches the worm

Jungle Fever

Thumbs Up

Alien Interaction

Jungle Trekking

BOSH!

Patient Zero

a heart of heat

the piece showed at the Propeller Gallery in Toronto, Canada

covid call

Bigs cale work, showed at the Belenartspace Gallery, Madrid, June-September 2021

Shade of mouvement

the glasses visualize our point of view, but they also have a limitation. In this composition of digital art the glases views repeat themselves but also reach new horizons
This work will be exhibited at the Moscow House of Nationalities, in Junly 2021

Dance of views

Les lampadaires

Artist's Organs

Bull By The Horns

Wilderness

Chillin with my Gnomies 

Mixed media: Scalpel & Digital Colour
A trip deep into the amazon jungle.

Ayahuasca

The Cock & Bear

Mixed Media
Scalpel Art & Digital Colour

Shikaka!

Rhizomatic expressions of multiples representations of what belong inside the self and the other.
Digital Photography
2018

Rhizomatic expressions of multiples representations of what belong inside the self and the other.

The Impossibility of moral conduct due to the fact that everyone is hiding something shameless.

Emovere 

Every day 40.000 to 60.000 thoughts rush through our minds, these thoughts mainly determine our emotions. Usually we are not aware of all these thoughts and how they affect us. As an artist I attach great importance to my emotions, which is why this is also a reccuring theme in my work. Reflecting on the emotions I had experienced these past few weeks, why I experienced them in this way and accepting these feelings were the main thoughts for my process in making these series. I have tried to translate my own feelings into a series of nine black and white  images. The abstract translation of these emotions gives the audience the space to give his own interpretation.

 
Emovere which means 'moving out' stands for the moving energy inside our body. Emotions are moving energy, if you look at the word emotions you can find the meaning energy in motion in it, e-motion. This the reason I called this project 'Emovere"

This project also represents my passions, I love to think about my emotions, I am very invested in finding out how emotions work, why we have them and how to deal with them. Next to this my even bigger passion is experimenting with different materials and media's. For this project I used a couple of materials to create the images such as plastic, heat, ink and paint. Then i took my camera and took shots of the abstract creations. My two passions melted together in the proces of making this project. 

I also made a small video which you can view on my Instagram: Darnishadaniel 

EMOVERE

A project about one of the inevitable things in life, death. This is an experimental series about the feelings I’m experiencing thinking about this subject.



When we talk about death, we talk about something that will happen to all of us. Death brings various emotions with me  that I find difficult to place. It is a subject for which little space is made, people naturally avoid this subject. With this project,  I portray a very universal theme that we do not always dwell on, but which certainly should be addressed. Death is scary and depressing for many, but on the other hand it is also very mysterious, pure and something that remains unanswered.

For this project, I experimentally searched for the visual translation of my emotions that I experience when thinking about death.

 

I made a 36-page tabloid mostly handmade, abstract and experimental images concerning my feelings towards death. Beside that this has been a journey for me accepting my own feelings towards this subject, I also wanted to make all of you aware of the fact that death is natural and something we should speak about in a more positive way.

 

For this project I choose to work as experimental as possible. I chose to not use my camera for 20 weeks. All these images were captured with my scanner. Making these images I used multiple techniques such as paint printing with my hands, acetone prints from allready existing images (xerox print), I used a lot of materials such as glass, clay, soap, coffee, flowers. Each having their own purpose and meaning. 



Dead

Drawing on the manipulative techniques of photographic time and space, the images string together a narrative that is inherently non-linear and perpetually falling. A tension occurs between the domestic and the other. A meditation on isolation. A certain lyricism is prompted throughout the images – allowing for a relapse in viewing. Moving forward and then pushing back, the works step into two worlds: one of the abstract and one of the mundane. Time acts to shift the course of perception, introducing an intimacy between viewer and image. Between being and becoming. With references to the natural and the still life, the photographs act as memories – both new and old – as they coalesce through time. Focusing on The Double, an illustration of timelessness becomes important – perhaps a fall out of time itself. Research into Victor Turner’s interpretations of the Liminal Rite and Virginia Woolf’s literary use of the multi-narrative develops a tension between the domestic and the other. Gravity and time prove instrumental in displacing the images from their natural timeline. In this way, the photographs act as spectres of memory, falling out of sequence to show an affected present moment, revolving around the Uncanny. ‘It’s Safe Behind the Glass’ is a working title, taken from an enclosure sign at the London Zoo. Forming an illustration of timelessness, perhaps even a fall out of time itself, the photographs concentrate on the notion of perception versus physical reality – locating gaps within the domestic and the natural world. 

It's Safe Behind the Glass

Works from a solo show exhibited at 103 Allen St.

Journal Entries

A current series exploring bodies in space

5004 Gray

These paintings exist together, side by side. Both paintings were inspired by Michel Foucault's "History of Madness", and the way that insanity is viewed in our society. Foucault argues that in society, insanity is seen as "unreasonable", while sanity is "reasonable". The first painting evokes unreason, while the second one is meant to contrast it by evoking reason. 

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Daniel Barth

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