Daniel Gordon: New Canvas

May 12, 2023
  • Kasmin is delighted to announce Daniel Gordon's New Canvas, the most comprehensive monograph of the artist to date. Focusing on...

    Kasmin is delighted to announce Daniel Gordon's New Canvas, the most comprehensive monograph of the artist to date. Focusing on both Gordon’s final works and the process that leads to the end result, the publication emphasizes the different layers that compose his photographs. The monograph features a full length essay about the artist by curator and writer Susan Thompson. 

    Gordon’s continually evolving practice is stimulated by both self-imposed structural and compositional challenges as well as developments in available technologies. His process begins with the collection of found imagery from stock, product, and archival sources, or by taking his own photographs. He then reproduces these images with an inkjet printer before adhering them onto volumetric structures that mimic the original subject’s form and scale. Prioritizing form, color, and surface texture, Gordon arranges his tableaux—described by Thompson as “assemblages of image-objects”—and photographs them from a single, frontal vantage point.

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  • About the Artist

    Daniel Gordon
    Portrait by Charlie Rubin.

    Daniel Gordon

    Daniel Gordon is known for photography and sculpture that employs appropriation and reproduction in order to question the nature of the image-object relationship. Melding optical illusion, pastiche, mixed media, and a recalibration of analog processes, Gordon consciously reframes what it means to have a photographic practice.

    Gordon’s process begins with sourcing found imagery—such as of a vase or a plant—from the internet or by taking pictures with an iPhone. Gordon creates print-outs of these images, which he then cuts and pastes onto a three-dimensional structure that mimics the form and scale of the same vase or plant, thereby reconstructing the depicted object in paper. The resulting objects, albeit seemingly improvised and crudely constructed, are meticulously fabricated. Gordon then arranges these stand-ins into various tableaux, which he photographs from a single, frontal vantage point.  

    Gordon’s marriage of digital and analog processes results in chromatic, highly layered works that delight in both the obvious and the confounding elements of their creation. Seams and fault lines are left unhidden—a wry celebration of the artist’s hand that also acts to emphasize the material nature of both subject and object. This pixelation and degradation of the images, rendered in supercharged color, creates a contemporary take on post-impressionist and fauvist painting of the 20th century. 

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