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Daniel Sinsel

16 April 28 May 2016

installation view, Daniel Sinsel
Office Baroque, Brussels, 2016

installation view, Daniel Sinsel
Office Baroque, Brussels, 2016

installation view, Daniel Sinsel
Office Baroque, Brussels, 2016

installation view, Daniel Sinsel
Office Baroque, Brussels, 2016

installation view, Daniel Sinsel
Office Baroque, Brussels, 2016

installation view, Daniel Sinsel
Office Baroque, Brussels, 2016

installation view, Daniel Sinsel
Office Baroque, Brussels, 2016

installation view, Daniel Sinsel
Office Baroque, Brussels, 2016

Daniel Sinsel
Untitled, 2016
Cow parchment, lead crystal glass, carved antique whale tooth, 9ct gold wire, bistre ink
64 × 45 × 6 cm (25 3/16 × 17 3/4 × 2 3/8 inches)

Daniel Sinsel
Untitled, 2016
Nutshells, oil on linen
40 × 25 × 5 cm (15 3/4 × 9 13/16 × 2 inches)

Daniel Sinsel
Untitled, 2016
Reindeer vellum
74 × 64 × 8 cm (29 1/8 × 25 3/16 × 3 1/8 inches)

Daniel Sinsel
Untitled, 2016
Oil on woven linen support, nuts, lime wood stretcher
150 × 130 × 10 cm (59 1/16 × 51 3/16 × 3 15/16 inches)

Daniel Sinsel
Untitled, 2016
Cow parchment, lead crystal glass, aluminium
64 × 45 × 5,5 cm (25 3/16 × 17 3/4 × 2 3/16 inches)

Daniel Sinsel
Untitled, 2016
Oil on woven linen support, hazelnutshells, lime wood stretcher
150 × 130 × 12 cm (59 1/16 × 51 3/16 × 4 3/4 inches)

Office Baroque is pleased to present a new body of work by London based artist Daniel Sinsel. For his second solo show at Office Baroque, Sinsel had made an intimate series of 6 new works that will be on view in our midtown gallery.

The works in the exhibit are united by an emphasis on craft and traditional materials. Sinsel’s abstract paintings and objects evoke a multitude of past references across ages and national movements, amongst them European medieval artisanal practices, European and Latin American Modernism. Even in its most minimal manifestation Sinsel’s work emphasises the sensual. The emotional fine-tuning of tensions between materials, their origins, historical attributions and treatment lend them an ineffable appearance.

Alongside historical and metaphorical resonances, materials like transparent animal parchment, lead crystal glass, antique whale tooth and gold wire reveal a form of dormant eroticism and excessive expenditures. In one larger painting, Sinsel squirrels away hazelnut shells between warp and weft of a mosaic-like support, handwoven from heavy linen tape. In the same painting, the depiction of fig leaves echoes the covering of nudity in the history of painting and sculpture. In his work, Sinsel frequently revisits the form of sexual double entendre. In two smaller works, Sinsel has used glass discs slotted into cow parchment. The implied violence of incised skin, the insertion of luminous stained glass, the addition of bare almonds carved from animal tooth, articulates some of the fundamental oppositions in Sinsel’s practice – between abstraction and the body, transparency and opacity, public and private space, revelation and concealment.

Over the past years, Sinsel has been the subject of solo exhibitions, including the Casa Maaud, Mexico City; Micky Schubert, Berlin; Sadie Coles, London and The Chisenhale Galery, London. His work is currently on view in the British Art Show 8 in Edinburgh and has been included in group exhibitions at Hayward Gallery, London; Pinacoteca Giovanni e Marella Agnelli, Turin; Studio Voltaire, London; Mendes Wood, São Paulo and The Museum of Modern Art, New York.