Fernando Daza Fernández. Seville, 1979. He holds a degree in Fine Arts from the University of Seville, specializing in Painting. Completes final year of undergraduate studies at the University of Athens on an Erasmus scholarship. Once he finished his studies, he spent several years participating in art contests and obtained several awards and scholarships that allowed him to continue producing and researching in different plastic techniques. His novel works on paper are the result of a long research process. He gets hold of a large amount of old papers from his father’s business, a law and tax consulting firm, and decides to use them as material in his first creations after leaving college. Those first works of recycled paper were the germ of the ones we know today, much more sophisticated and made with more noble papers.
He currently works with different galleries in Spain, Portugal, France, USA and South Korea. He participates annually in several art fairs, in Spain and abroad, and holds numerous solo and group exhibitions. His works are part of prestigious collections such as the Bassat Collection in Barcelona, Entrecanales Collection in Toledo, Rucandio Collection in Cantabria, Room-Mate Hotels Collection in Madrid, Banco Sabadell Collection, Cajasol Collection, Junta de Andalucía Collection… His works have also been selected by the American architect Peter Marino to decorate luxury stores of Chanel, Tiffany and Louis Vuitton in the USA, Canada, Australia, Austria, France, Spain and Qatar.
ARTIST STATEMENT
My geometric structures have no figurative reference. They are made from circles of different colors and other Cartesian compositions, harmoniously centered in the space of the support. Sometimes I present them as a structure-unit, in a single format, and in others as two or more structures that touch and overlap or are inverted, in two or more different panels, forming tangent or secant figures, as in the case of the four intersecting circles that make up a flower-like composition.
As for the technique, I use torn paper that I tear by hand and I build the surface of the painting from the bottom up, by superimposing strips of paper, previously folded and torn, which are glued on the canvas in an orderly fashion, in parallel, until the composition is complete. The result is a slightly three-dimensional work, although in the classic two-dimensional support of painting, with a vibrant visual texture, whose observation requires an entry of zenithal light thrown on the surface of the painting.
Conceptually, my work flees from the interest in imitating nature and follows its own laws that make it autonomous and defend its value on its own. It is my wish to emphasize the material presence as a concrete reality and not as an illusion. My compositions suggest essentially suprematist approaches, orthogonal abstract structures, basic geometric shapes or monochrome backgrounds without figures. The finishes and the material, the paper in its original factory colors and the raw unprimed fabric, are essential in my search for balance and beauty.
