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Blake Daniels

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20130727153500-_ag_pleez_deddy___2012_
Ag Pleez Deddy, 2012 Oil on Canvas 44x60in
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We Three (My Echo, My Shadow and Me), 2012 Tempera and Oil on Panel 22x30in © Blake Daniels
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Capricho No. 81, 2013 Oil on Canvas 44x60in © Blake Daniels
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The Mourner (An Ethnographers Dilemma), 2012 Oil on Canvas 33x44in © Blake Daniels
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Untitled (Town), 2011 Acrylic on Monotype 18x12in © Blake Daniels
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They Left Him Dead and Dying, 2012 Oil on Canvas 60x44in © Blake Daniels
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My Dear Dead Dad, 2012 Tempera and Oil on Panel 11x16in © Blake Daniels
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Monkey Business, 2011 Casein 13x8 © Blake Daniels
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The Movers (Take Father Home), 2012 Oil on Canvas 60x44in © Blake Daniels
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Nighttime Practice , 2014 Oil on Canvas 53"x42"
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A Victory At Turpin High, 2013 Oil on Canvas 68"x84"
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Swamp Love (The Rape of Europa), 2014 Oil on Canvas 60"x60"
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Florida Solstice, 2014 Color Pencil and Graphite on Paper 18"x27"
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The Saddest Boy in all the South, 2014 Graphite on Paper 18"x12"
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Breakfast in Bed, 2013 Oil on Canvas 44"x60"
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Adam, 2014 Egg Tempera and Oil on Panel 20"x15.5"
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The Second Adam, 2014 Egg Tempera and Oil on Panel 20"x15.5"
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On the Banks of the Ohio (Sunlight Pool), 2013 Color Pencil and Graphite on Paper 18"x22"
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On Palm Sunday, 2013 Oil on Canvas 46"x36"
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My Mother, the Swamp and all the Children She's Forgotten, 2014 Oil on Canvas 60"x44"
20140813174635-portrait
Quick Facts
Birthplace
Cincinnati
Birth year
1990
Lives in
Savannah, USA
Works in
Johannesburg, SA
Schools
The School of the Art Institute of Chicago, 2013, BFA
University of Witwatersrand, Johannesburg SA, 2012, BA
Representing galleries
Beers Contemporary
Tags
Blake, daniels, Beers Contemporary, johannesburg, abstract, figurative, South Africa, curator, arc, Caribbean, abstract, figurative, sculpture, mixed-media, installation, realism, landscape, modern, traditional, exhibition/performance
Statement

Blake Daniels (b. 1990 Cincinnati, USA) is an American artist living and working in Savannah and Johannesburg. His paintings depict bodies and spaces that are constantly being altered, dislocated, and fragmented through the internalization of the socially built history they experience. Reconfiguring figure and ground relations on the painting surface, Daniels is able 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. Daniels employs a number of historic painting process to reconfigure the history they document, inventing a wild and playful, yet astutely dark conception of his observed world.