In the beginning was the Word, they say, but when we are born, we first scream and cry. Then, the A comes out of a mouth that is only gums. Those around us repeat their names and we try to modulate with that mouth that generates noises. Once we learn the vowels, letters, subject, verb and predicate, there is no turning back, we are immersed in language. World and thought, get built one word after another. There comes a bombardment of rules that we internalize, they seem obvious to us from so much shock, repetition and correction. Nursery rhymes and handwriting exercises reinforce this baptism between broken pencils and rolling red wagons.

The finefreshfisherman arrives, and with him, the bitter butter Betty bought. And then, apart from naming the world, other uses of language appear, in which the movement is so intense that it seems to create whirlpools, and the words begin to sound more, to lose their meaning, to distort, and unravel into fragments. Daniel has been interested in these mobile and interrupted forms of language: his drawings, watercolors and oil paintings are projections of this phenomenon. Tongue twisters, popular sayings, song lyrics, anecdotes, and stories are some of the uses of language the artist observes, and in which he finds not only sonority, poetics, play, and meaninglessness, but also an essential part of our identity.

Gathering details and fragments from different places and putting them together, Daniel creates a series of assemblages in which it is not enough to identify the origin of the parts or to look for some mimetic reference. Rather, he approaches the montage as a whole, where the superposition of fragments appears as a new order to be traversed. It is in this plurality that the malleability of the work and the language is manifested. If a tongue twister were an image, it would be a collage of Daniel.