Daniel was raised in a military family and moved every two years for most of his life. He comes from a family of storytellers who love investigation and creativity. Introduced and encouraged into creative outlets by his mother, a basket maker and calligrapher, from an early age Daniel has never forgotten the lessons of craft from his mother and the lessons of engineering from his father. His training in the Arts comes from an Undergraduate Degree at the University of Florida in Printmaking and a Masters Degree from the University of Georgia with the same emphasis. Between the two programs of formal education Daniel lived in downtown Washington DC and trained as a traditional furniture maker under woodworker Dennis Sitka. Currently Daniel is an Associate Professor of Art at Georgetown College in Georgetown Kentucky where he teaches a variety of course including Sculpture, Printmaking, 3D Design, Ceramics and Package Design. He lives in Georgetown with his wife Holly, his daughter Olive, his son Thatcher, and their dogs Clover and Cricket.
My work is an investigation of comparative relationships through personal narratives. Existing in multiple mediums my pieces are conceptually driven to their means of production. Whether in the form of sculptural autonomous machines or variations in printmaking my work is based in storytelling. I was raised in an environment where it was believed anything could be fixed or figured out. A large amount of my work starts as a means of breaking down, fixing or figuring out a personal matter. Not a means of catharsis but a means of interpersonal communication. I often rely on a process of forcing images against each other to dilate a previously unscripted narrative. I have never been short on words but when it comes to explaining emotion I often am short on the right words. There is a practice in dream therapy in dealing with partial memory where the client will start telling their dream until it gets unclear what happens next. At this point the therapist will make up the rest. The client will contest, saying not it was not like that it was like this, going on to finish a dream they had up until then, forgotten. The memory comes forward to defend itself. I am both the client and the administrator. I force comparisons in hope of a defensive dialog coming forward to defend the visual narrative as a valid interpretation of each personal investigation.
Wood working, sculpture, machine making and print making process
The Complexity of a Print
Creating Prints from Historical Photographs
I like to leave things for myself in the work that I do because you never know who you're going to be in a little while
Multiple ways of making