Daniel Horowitz works in painting, drawing, collage, and installation. He sometimes works as an art director and illustrator as well.
His art is characterized by a unique combination of realism and surrealist abstraction. In many of his compositions, faceless human figures work against backdrops of bizarre landscapes, mundane architecture or chimerical scenes. Twisted and stretched objects or body parts rendered in vibrant colors channel the surreal while examining contemporary reality, social anxieties and displaced identity. Horowitz’s imagery alters the original nature of objects and scale, creating overall dreamlike atmospheres. His paintings employ an associative logic, whereby disparate subjects are thrown together into impossible landscapes that are nonetheless psychologically cohesive. Through dissonant figure pairings and Freudian fluency in our collective symbolic lexicon, Horowitz conjures up what cannot be visualized into something visible. His paintings suggest a narrative but this promise dissolves into ambiguity. Originally inspired by Surrealism and the Polish Poster School, he developed natural interest in the so-called New Leipzig School, known for mixing surrealism and realism. Horowitz’s work has been the subject of international solo and group exhibitions – from New York, Los Angeles, Mexico City, Warsaw, Berlin, Leipzig, Paris to Split, Barcelona, and Montreal. He graduated from the Art Center College of Design, Pasadena, CA (2001).
His commercial clients include: The New Yorker, The Standard Hotel, Flammarion, The New York Polish Film Festival.
You may visit Daniel’s website by clicking on the following link: http://www.daniel-horowitz.com
A Drawing a Day for 365 Days
The vocabulary of this long-term project has resulted in a curious bestiary cut from old accounting books and ephemera, brought to life with ink and paint, scissors and collage, resulting in an original and thoroughly whimsical world tinted with black humor and impertinence. Finding solutions to visual problems through metaphor is one of Daniel’s most gratifying endeavours, having spent ten years cultivating a skill of translating abstract texts into concise coherent visual metaphors as ai illustrator for the New York Times among other notable clients. Becoming fluent in the language of media in its ability to educate and manipulate. This fluency allows allows for mining our collective visual codex with extreme precision. 365 serves as a taxonomy and database of 365 ideas and techniques that function as a foundation in each subsequent project.
Through dissonant figure pairings and Freudian fluency drawn from our collective symbolic lexicon, Horowitz attempts to unlock a more authentic reality. By repurposing images from our societal detritus contained in expired soviet encyclopedias, periodicals, almanacs, and lifestyle magazines, and by employing an associative logic, I expose our contemporary reality with its social anxieties and displaced identity. Having been raised in the shadow of the holocaust, Daniel states that much of his life he has spent trying to reconcile what are fundamental truths in regards to human behavior. Peeling away the surface on printed media which he consideres as propaganda, someone’s official version of the truth, he attempts to unlock that which binds us all together and dispel inherited trauma. Therefore the work is simultaneously autobiographical, as it is collective in its reckoning with wider contexts of our shared paranoias.
At mid-term of the project, Lucien Zayan, director of The Invisible Dog Art Center, invited Daniel to create a large scale exhibition of the entire series upon its completion. Curated by star Korean artist, Chong Gon Byun. The exhibition of 365 drawings opened on March 10th, 2012, during the Armory show and ran for 6 weeks. Since selections of the paintings have since been exhibited widely, including Christie’s Auction House in NY, the Museum of Modern Art in Warsaw and the Direktorenhaus in Berlin.
In this body of twenty works on paper commissioned by the Musée de la Chasse et de Nature in Paris, Daniel Horowitz dives into the exercise of pseudo-historical documentation. Retelling a fictive safari expedition, he subverts original eighteenth, nineteenth and early twentieth century artifacts to explore the art of hunting, as a metaphor for man’s quest of self.
The objective is to successfully manipulate the image by harnessing the given style and technique of the antique engravings and watercolors, and confuse the viewer as to what is authentic and what is intervention. By seamlessly integrating the counterfeit historical work back into the permanent collection of the Museum among many other genuine artifacts from the past, the exhibition confuses what is “museological objectivation” and “ontological engineering” to cite the philosopher, Vincent Normand. Questioning the ontological role of the museum, the exhibition, and the historical artifact all together is at the heart of this approach.
Daniel Horowitz’s practice is one of painting, drawing, collage and installation. Through combin- ing realism and surrealist abstraction, he produces works worthy of modern curiosity cabinets. Created following unnatural associations that turn logic or scale upside down, his chimaera express with a creaking humor the fear of our contemporary world, in search of its identity. (…) By re-appropriating well behaved romantic engravings, Daniel Horowitz touches on this taste for the uncanny which inspired certain vocations amongst Safari candidates. His grafted creatures, with disproportionately long necks — coherent even though “unseen” ever before – give life to our collective symbolic lexicon.
Claude d’Anthenaise, Director Musée de la Chasse et de la Nature
Romantic irony is defined by philosopher Friedrich Schlegel as early as the end of the 18th cen- tury, and designates the ensemble of processes of reversal used by an artist to exceed/surpass his situation in a finite world. With it, the artist tries to express the unspeakable, emphasizing the artificial dimension of his work as to suppress any illusion of realism. Romantic irony therefore becomes a tool for art to direct itself, to be seen as a construction of the mind, incapable to objectively represent the world. By placing art in a permanent waxing and waning between self- creation and self-destruction, it proceeds from a self-reflective discourse, about its own limita- tions, and those of human condition. Romantic irony finds expression in a profound questioning of the world, and of its perception – such as in Paul Klee’s work, or Daniel Horowitz’s.
Comte Philippe de Boucaud, independent curator