The renewal and experimentation of the plastic language have marked the career of Daniel Verbis (León, 1968) since his first exhibition 25 years ago. In an interesting game of back and forth between pictorial work and intervention in the exhibition space, Verbis’ work has managed to update the concept of painting by delving into the least predictable aspects of the current discourse on art, he has managed to combine a new materiality without abandoning the traditional painting. By conditioning gestural expression to geometric rationality, Verbis has managed to marry his individual poetics with naturalist iconography and cultural reference, the whim of chance with strict formal honesty.
In Ser mirada y (des)aparición… the organic geology and crystallographic geometry, the expansive geography and the cellular labyrinth, the vegetal ramification and the animal development serve to make concrete a painting of the body without a name of its own, a painting that has its singularity altering the visual space, a painting that distances itself from the inhuman technological imperialism skinning the shell of the sensory, corporal, carnal intrigue.
In Ser mirada y (des)aparición… the descriptive painting naturally incorporates action, the anti-form; deliquescent painting that springs from a hidden source that registers its own drive, but also the figural painting (Lyotard), the referential form, that is to say, the form combined with language.
