Exhibitions, Italy, Milano, 10 April 2018
by Domenico Settevendemie)
Center of Milan, I look around and for a moment it seems to me to be in one of the paintings of Daniele. The painting of Daniel does not have as its ultimate goal the architecture of a time necessarily contemporary and perhaps not even architecture. Of course, he is interested in it, but in order to extract its essential forms: line, square, triangle, circle, then establishing an unprecedented relationship between these and the fundamental human senses defining the concept of living as a synonym for living . It is from the interaction of these different cardinal elements of the existence and the different ways of being in the world that its urban landscapes are born, actually sensory projections of the urban space that we live every day. His painting is not content to describe, moves by symbols, is radically introspective, aspires to the synthesis and rarefaction of the sign, admits very few presences (...) to all visitors to the exhibition a good walk along the painted paths of Daniel, connoted by a sometimes joyful lyricism, sometimes melancholic, but always strongly inclined to life.
Center of Milan, I look around and for a moment it seems to me to be in one of the paintings of Daniele. The painting of Daniel does not have as its ultimate goal the architecture of a time necessarily contemporary and perhaps not even architecture. Of course, he is interested in it, but in order to extract its essential forms: line, square, triangle, circle, then establishing an unprecedented relationship between these and the fundamental human senses defining the concept of living as a synonym for living . It is from the interaction of these different cardinal elements of the existence and the different ways of being in the world that its urban landscapes are born, actually sensory projections of the urban space that we live every day. His painting is not content to describe, moves by symbols, is radically introspective, aspires to the synthesis and rarefaction of the sign, admits very few presences (...) to all visitors to the exhibition a good walk along the painted paths of Daniel, connoted by a sometimes joyful lyricism, sometimes melancholic, but always strongly inclined to life.
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