My experiences living in Lebanon, Italy, the US, and the UK have had significant influences on my work. Much of my interest and research has to do with an attempt to 'see' a landscape or a place, both in a present moment, and in consideration of its, and my, past. As I move between places, I am becoming more aware of the relationship between certain immediate visual experiences with other remembered ones.

Physical places, landscapes and the idea and act of traveling have influenced my work. I recently read Michel Serres’ Rome: the book of foundations, which has informed some of my latest projects. Even more generally, mathematics (the form of equations and proofs), languages, (the history of) painting, and photography are all pretty strong influences.

I use painting, printing, collage and video in my work. The role of the medium, specifically the screen printing process, is significant in my recent work. It allows for the manipulation of both the material and the subject as an image is repeated and repeatedly altered and reconstructed. The screen itself, requires a separation of colors, forms, and an order to create. That process, in turn, has informed my use of other media, mainly how I approach the layering of information. 
I tend to begin with a single image – often a snapshot of a place I have moved through, or lived. These images are mainly urban or rural landscapes, and most recently photos I take while in transit.

Working with one image in a variety of media and over a period of time allows me to develop a ‘history’ with the image similar to one I might have in relation to a place.  The series of images that develop from the original, serve as a ground to investigate the interaction of the visual and temporal in relation to a physical place



The paintings being shown in Land Without A Map are part of a body of work that developed from a project using a found postcard depicting a view from the St. Georges hotel (c.1960) in Beirut, and a photo of a similar view of the same hotel pool, taken a year ago. I started working with the postcard and photograph by enlarging and then screen printing them, using stencils and masks to create heavily layered prints. As I continued working with both images, certain forms and colors became familiar, and acquired new meanings; in a way, they became universal as well as specific. I made the paintings that are in Land Without a Map, using the information/language that I had ‘experienced’ and acquired from printing and working with the images over a year.

I hope to be able to continue engaging with new communities and different places in a way that will both inform my work as an artist, and as a contributing person in society. I would like to collaborate on projects that involve other artists, and people across disciplines- investigating visual languages that are recognizable in multiple contexts.

See more of Daniele's work on her jotta profile.

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