ATOI

Dale Adcock

Faig Ahmed

Hurvin Anderson

Scott Anderson

Fabio Lattanzi Antinori

Michael Armitage

Luke Armitstead

Lello // Arnell

Francis Bacon

Cornelia Baltes

Simon Belleau

Joshua Bilton

Alison Blickle

Benjamin Brett

Andrew Brischler

Carla Busuttil

Scott Carter

Jonathan Chapline

James Clarkson

Mikey Cook

Kevin Cooley

Elizabeth Corkery

Øystein Dahlstrøm

Blake Daniels

Fleur Van Dodewaard

Tomory Dodge

Antoine Donzeaud

Zavier Ellis

Amir Fattal

Madeline Von Forerster

Ruth Freeman

Robert Fry

Anthony Goicolea

Jonny Green

Pablo Griss

Eckart Hahn

Felicity Hammond

Byzantia Harlow

Neil Harrison

Clinton Hayden

Colleen Heslin

Oliver Hickmet

Aaron Holz

Edward Hopley

Gary Hume

Christoffer Joergensen

Tamara K.E

Olivier Kosta-Thefaine

Olaf Kuhnemann

Bruce LaBruce

Janneke Van Leeuwen

Tomáš Libertíny

Gijs Van Lith

Tom Lovelace

Kate Lyddon

Nigel Massey

Roberto & Renato Miaz

Holly Mills

Jenny Morgan

Ryan Mosley

Benjamin Murphy

Jose Carlos Naranjo

Regina Nieke

Sarah Pager

Selma Parlour

Yelena Popova

Martine Poppe

Tony Romano

Lou Ros

Maja Ruznic

Alan Sastre

Sebastian Schrader

Andrew Sendor

Dominic Shepherd

Pawel Sliwinski

Berndnaut Smilde

Evren Sungur

Shaan Syed

Struan Teague

Alexander Tinei

Kristian Touborg

Luke Turner

Alain Urrutia

Dan Voinea

Mathew Weir

Jack West

Jonathan Zawada

Blake Daniels

Inquire about this work

'Ag Pleez Deddy' (2012), oil on canvas, 152x110cm
'A Victory at Turpin High' (2013), oil on canvas, 203x150cm
'Breakfast in Bed' (2013), oil on canvas, 152x112cm
'My Dear Dead Dad' (2012), tempera and oil on panel, 44x33cm
'They Left Him Dead and Dying' (2012), oil on canvas, 152x110cm
Capricho № 81: 'No le basta'(Isn’t it enough?) (2013), oil on canvas, 110x152cm


Blake Daniels looks at the way a body is constituted by its surroundings, constructed spaces that are never as innocent as they portray. His paintings depict bodies and spaces that are constantly being altered, dislocated, and fragmented through the internalization of the socially built spaces they experience. Figure and ground relations must be reconfigured, and imagined, to account for the inherent hybridism that has arisen between representation and abstraction. This shift within Daniels paintings speaks to larger postcolonial conditions, contesting notions of pure race, gender, language and nationality. A combative shift of the body’s relation to space used to create identities non-contingent on linear narratives. A new 'real' no longer reliant on bearing the weight of fixed social algorithms. Left in the wake of late 20th century deconstructionism, Daniels work interrogates these fractures that oft constitute the ‘bastard’; inventing a wild and playful, yet astutely dark conception of his observed world.

BLAKE DANIELS (b. 1990, United States), a recipient of the Edward L. Ryerson Fellowship from the School of the Art Institute of Chicago, has worked and exhibited across the United States, South Africa, Jamaica, Trinidad and Tobago, Canada and the United Kingdom. His large-scale paintings map abstraction directly onto figure and space, demanding a reinterpretation of how painting functions within the conditions of the twenty first century. Exhibitions include New Work, Sullivan Gallery, Chicago, Illinois (January 2013); the Free City International Arts Festival, Chevy-in-the-Hole Gallery, Flint, Michigan (May 2013); Mapping the Abstract, Beers.Lambert Contemporary, London, United Kingdom (August 2013) That Ship Has Sailed, Edna Manley College of Visual and Performing Arts, Kingston, Jamaica (October 2013); amongst Daniels participation in the Rex Nettleford Arts Conference with the Edna Manley College of Visual and Performing Arts in Kingston, Jamaica and the Meeting Place: Caribbean InTransit Symposium with the University of the West Indies in St. Augustine, Trinidad and Tobago.



Blake Daniels looks at the way a body is constituted by its surroundings, constructed spaces that are never as innocent as they portray. His paintings depict bodies and spaces that are constantly being altered, dislocated, and fragmented through the internalization of the socially built spaces they experience. Figure and ground relations must be reconfigured, and imagined, to account for the inherent hybridism that has arisen between representation and abstraction. This shift within Daniels paintings speaks to larger postcolonial conditions, contesting notions of pure race, gender, language and nationality. A combative shift of the body’s relation to space used to create identities non-contingent on linear narratives. A new 'real' no longer reliant on bearing the weight of fixed social algorithms. Left in the wake of late 20th century deconstructionism, Daniels work interrogates these fractures that oft constitute the ‘bastard’; inventing a wild and playful, yet astutely dark conception of his observed world.

BLAKE DANIELS (b. 1990, United States), a recipient of the Edward L. Ryerson Fellowship from the School of the Art Institute of Chicago, has worked and exhibited across the United States, South Africa, Jamaica, Trinidad and Tobago, Canada and the United Kingdom. His large-scale paintings map abstraction directly onto figure and space, demanding a reinterpretation of how painting functions within the conditions of the twenty first century. Exhibitions include New Work, Sullivan Gallery, Chicago, Illinois (January 2013); the Free City International Arts Festival, Chevy-in-the-Hole Gallery, Flint, Michigan (May 2013); Mapping the Abstract, Beers.Lambert Contemporary, London, United Kingdom (August 2013) That Ship Has Sailed, Edna Manley College of Visual and Performing Arts, Kingston, Jamaica (October 2013); amongst Daniels participation in the Rex Nettleford Arts Conference with the Edna Manley College of Visual and Performing Arts in Kingston, Jamaica and the Meeting Place: Caribbean InTransit Symposium with the University of the West Indies in St. Augustine, Trinidad and Tobago.