Using aesthetic values in a contemporary context, Daniel O’Toole draws from modernist painting strategies to address qualities of light and sound. Through a wilful assembly of physical elements he composites on canvas, film, and digital media, synthesised portraits, empathetic to the complexity of identity in a rapid and present age. 

Built on an ideologically unbiased interpretation of timeless formalist themes, O’Toole utilises a synthetic abstraction in his approach to representation. Bordering on a symbolist approach to visual language, one that adopts the stylistic projections of his predecessors, a surrealist perceptual enquiry unfolds into the nature of the individual voyage. 

The interplay between abstraction and figuration have developed into a synesthesia toward the musicality of painting. Moving image and the static object have been the driving force behind experiments in which the subject is viewed through a transparent layer, altered by textural distortions that make apparent correlations between the painted and photographic image.

As a multimedia artist, O’Toole handles photography as a painter would, and in fact see’s the resulting images from studio shoots, as paintings.  O’Toole fuses painting techniques and photography to develop images that sit somewhere between the two. Particularly with the primacy and vitality of polaroid, O’Toole has laid strong foundations for the development of video works that aim to imagine painting in a state of flux. 

(Written by Joe Wilson)

 Process shot developing work from the ‘Unrest’ series shot by Jamie Nimmo

Process shot developing work from the ‘Unrest’ series shot by Jamie Nimmo