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Daniel Mattar's work is an exploration of technology and paint in their purest, most concentrated form. It seems to spring from a mechanical eye that sees beyond human perception and pays tribute to the power of paint. Every drop he applies, every bulge and solidification, is reminiscent of industrial design, but at the same time refers to the elemental purity of the primal form.
His backgrounds are not soft colour fields, but areas of colour that mercilessly deny space, claiming the surface and forming the foundation for the enlarged paint drops or smears, which exist in the space like a living mechanism. The work is like an announcement of a bas-relief, an approach to the other side, a longing that extends towards a touch that never comes, shielded by the glass that guards the distance.
What Mattar creates is a work that contains both the solidification of time and the fluidity of the moment, a tension that can only be understood at the interface between the mechanical and the organic.
His backgrounds are not soft colour fields, but areas of colour that mercilessly deny space, claiming the surface and forming the foundation for the enlarged paint drops or smears, which exist in the space like a living mechanism. The work is like an announcement of a bas-relief, an approach to the other side, a longing that extends towards a touch that never comes, shielded by the glass that guards the distance.
What Mattar creates is a work that contains both the solidification of time and the fluidity of the moment, a tension that can only be understood at the interface between the mechanical and the organic.
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