The renewal and experimentation with plastic language have defined the trajectory of Daniel Verbis (León, 1968) since his first exhibition 25 years ago. In an interesting back-and-forth dynamic between his pictorial work and interventions in the exhibition space, Verbis’s work has succeeded in updating the concept of painting, delving into the least predictable aspects of contemporary art discourse. He has managed to combine a new materiality without abandoning the traditional canvas. By adapting gestural expressiveness to geometric rationality, Verbis has successfully merged his individual poetics with naturalistic iconography and cultural references, the whim of chance with strict formal honesty.
In Ser mirada y (des)aparición… organic geology and crystallographic geometry, expansive geography and the cellular labyrinth, vegetal branching and animal development serve to materialise a painting of the body without a proper name. A painting that affirms its uniqueness by altering the visual space, a painting that distances itself from the inhuman imperialism of technology by peeling away the armour of sensory, bodily, carnal intricacies.
In Ser mirada y (des)aparición… descriptive painting naturally incorporates action, the antiform; a deliquescent painting that emerges from a hidden source, registering its own pulse, but also figurative painting (Lyotard), the referential form, that is, the form united with language.
