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Daniel Berman
I saw a shadow in the kitchen.

2022

About the Item

Daniel Berman's production is not only torrential and overflowing but also mutating as if it were a chameleon, it changes to support and scale to explore the possibilities of each technique to renew and expand its language. But in this unfolding of options, there is undoubtedly a common thread that runs through his production and weaves together this inexhaustible formal search. And this is a two-dimensional thread: the line of drawing and graphics experimenting with the possibilities of the series and often subverting traditional painting procedures to illuminate new plastic possibilities. At an iconographic level, we find a fixation on anthropomorphic figures, more than strictly human, as a receptacle to express the full range of emotions of the modern subject. Sometimes he appropriates popular characters to tune them until they are almost unrecognizable, making them something deeper and more personal. The vaguely human bodies he draws tend to be threadlike; this anatomical peculiarity makes them labial, capable of twisting and fragmenting to adopt unlikely postures. As if Berman showed us to what extent these beings can only show their joyful vitality through contortion. Despite this fixation on the corporeal that is often specified in ultra-baroque compositions, in his latest works it tends to dissolve, to such a level of fragmentation and blurring that his paintings flirt more and more openly with abstraction.
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