07 September - 28 October 2017
lives and works in new york
cooper union school of art (class of 2013)
born in campinas, sao paulo - brazil
nut, nuts, nutjob, sorry we’re closed, brussels, 2017
creepers, the journal gallery, brooklyn, 2016
rot pear rot, formatocomodo, madrid, 2016
an eye for an eye, kasia michalski gallery, warsaw, 2015
to call a tree a tree, cooper union, new york, 2014
sorcerer’s potter’s pink, 39 great jones, new york, 2014
tombstones for a bird, cooper union, new york, 2013
selected group exhibitions
small enough to keep me happy – big enough to keep me occupied, v1 gallery / eighteen,
summer sun, the journal gallery, brooklyn, 2017
drawing island, the journal gallery, brooklyn, 2017
le géant de la digue (collaboration with loup sarion), asphalte festival, charleroi, 2016
...suggest the shape of the wind, nam project, milan, 2016
mythology, arsenal, toronto, 2016
mythology, division gallery, montreal, 2015
nut, nuts, nut job
Daniel Boccato collects the outlines of objects, freeing them from any narrative, placing them outside a preestablished context.
He reuses the forms found to create monochromatic sculptures, In fiberglass and epoxy, adaptable industrial materials, dried until they reach a strong finish which confers a density on these hollow objects. Each of these sculptures recalls vaguely something of a déjà vu. The protruding elements, the reliefs wrinkles on the plastic surfaces inspire us to question ourselves indexing here and there grimaces or the human appearance of a grin, but reminds to us also that they are above all forms. Nevertheless, there is an imaginary fragility, a remains of the delicate cardboard and the molds to strip which once contained them. The cover placed during the process of casting prints wrinkles and folds on the surface, which give an aspect deceitfully thicker in the hard and inflexible shell. And if the works on the brilliant wall remind us of the lineage of a painting-cum-sculpture, there is no painted track: the resin adheres to the paint which was applied to the mold, by by taking on the work in color in an immediate and irreversible way.
Sculptures show in a purely abstracted way, revealing an imprint, the extraction of a reality resisting the representation.
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