Daniel Evan Schwartz
  • Male
  • Bloomington, IN
  • United States
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Alexis Archibald commented on Daniel Evan Schwartz's photo
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Stem (detail)

"Love your work!"
May 5
Alexis Archibald liked Daniel Evan Schwartz's photo
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Ali Amaro commented on Daniel Evan Schwartz's photo
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Consume

"Nice textures, makes me think about digestion."
Feb 21
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Aug 13, 2013
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Jeanne Raffer Beck left a comment for Daniel Evan Schwartz
"I would love to own a huge one of these -- large enough to crawl inside of and nest, with little tiny peepholes peering back out into the world. A private dream space!"
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Crafthaus Project Grant 2012 - VOTE

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Jul 28, 2012
Daniel Evan Schwartz posted an album

Visceral Manipulation

My goal is to make work that is full of dichotomy and paradox… at once beautiful and gruesome, comforting and disturbing, alluring and repelling, familiar and unknown. I am ceaselessly interested in revealing unseen innards, at exploiting my…
Jul 28, 2012
Daniel Evan Schwartz left a comment for Leisa Rich
"Thanks for the kind words Leisa. I'm definitely interested in hearing more about the radical fiber exhibit you're curating..."
Jul 10, 2012

Profile Information

Where do you live ? City, State and Country
Bloomington, IN USA
Place of Work ? Example: Studio, College, Gallery, Museum, ...)
Studio
I am a .... Example: Student, Maker, Educator, etc.
Maker
Your website, DIRECT flickr or DIRECT facebook links where your work can be seen.
http://danielevanschwartz.com/
What media do you work with?
encaustic

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My goal is to make work that is full of dichotomy and paradox… at once beautiful and gruesome, comforting and disturbing, alluring and repelling, familiar and unknown. I am ceaselessly interested in revealing unseen innards, at exploiting my fascination with things normally hidden—unselfconscious marks on secreted surfaces. The forms reference anatomy and viscera, further enhanced by a palette suggesting tissues, veins, muscle, fat, bone, fluids, etc.—alive and decaying. My work both shows and implies an inside. A need to physically engage with and intimately respond to the object as it slowly unfolds results in haptic work sized in direct relationship to my hands and body.

My work is solidly constructed from the inside out in layers of crochet, binding, knotting, looping, stitching, and wrapping with a variety of threads, yarns, twines, and fibers. Individually the pieces engender a personal history by physically containing and visibly documenting the obsessive and laborious construction processes rather than simply depicting (or hiding) them. The materials range from prosaic to unusual, natural to synthetic, and domestic to industrial. My process is akin to drawing—marks gradually transformed into form, layer upon layer—resulting in forms in which construction and surface are inseparable. This process enables me to realize forms that are clearly ordered but also with a kind of insistent spontaneity, or organized chaos—the juncture at which the calm of measured movement intersects with the violence of impulsive gesture. As the forms reference the body, so too does the use of thread reference the act of suturing.

Teetering on the brink of action, the pieces seem to embody the anticipation of turmoil—hinting at the moment just before, or right after, an incident of consequence takes place. Examining the work visually affords a passive sense of bearing witness to such an occurrence, whereas experiencing the piece through touch imparts a sense of intimate (perhaps conflicted) involvement. The pieces have no fronts or backs, tops or bottoms. They are not static pieces to be seen at a distance but rather dynamic objects with which to physically interact.

As individual objects, the pieces evoke organs and wounds while simultaneously seeming to make interoception tangible and the implication of fear visible. When grouped, the interlocking forms suggest interactions analogous to sexual and/or social relationships—intercourse, union, exchange, conflict, etc.—and the mending of fractures, literal and figurative. They seem to nestle and writhe, fight and surrender.

I aspire to create complex, honest work that defies definition and categorization, and compels the viewer to engage with it on their own terms. I am also interested in challenging notions about practical, domestic techniques synonymous with "women's work" and uprooting them. I have consciously used a lot of soft, fuzzy, baby and novelty yarns juxtaposed with overtly oppositional colors and textures to create an uneasy tension between beauty and failed beauty, function and dysfunction. The use of such yarns also results in work referencing old stuffed animals—profound memories of the security blankets of childhood prompted by the unexpected rediscovery of a well–loved, threadbare plush toy.

Comment Wall (4 comments)

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At 1:06pm on September 21, 2012, Jeanne Raffer Beck said…

I would love to own a huge one of these -- large enough to crawl inside of and nest, with little tiny peepholes peering back out into the world. A private dream space!

At 3:52pm on April 24, 2012, Marisa Finos said…

Incredible body of work!  I just want to hold and inspect each and every one of them! Absolutely lovely.  

At 8:33pm on April 20, 2012, Jennifer Marcson said…

Your work is so visceral. I love it. Great artist statement.

At 11:29am on April 17, 2012, Brigitte Martin said…

Hello Daniel,

Welcome to crafthaus, the network for fine craft artists and those who support them! I am very glad you joined us! Your crafthaus membership is valid through May 15, 2013.

Please look around and add your thoughts to the groups, blogs and discussions. Crafthaus is a participatory sport!

Please note that ALL images sent to the website editor are vetted to assure a measure of overall quality control. Unlike other image sharing websites, crafthaus is not a "free-for-all". Our members present their work in front of an educated and critical audience (their peers,) so the photos have to be GREAT. Our goal is to show our members' work in the best possible light. From the many images received daily, we aim to post as many as possible. Crafthaus heartily encourages comments from the membership, however, with regard to photos posted or not, we have a strict "NO WHINING" policy in effect! 

If there are ever any questions or concerns, please don't hesitate to email me via crafthauseditor@live.com anytime, I will do my best to be of help.

I hope you will enjoy being with this network, and will find the exchanges interesting and fun.

Again: Welcome !

Brigitte Martin
Crafthaus Editor

 
 
 

A modern metalsmith/metal artist can be found working in traditional metals as well as in nontraditional materials. The designs can range from the classic to the extravagant, and the techniques can either be centuries old or decidedly current.

The wide range of expression preferences, design options, materials, and processes has lead within our field to unfavorable misconceptions, misunderstandings and in some cases even outright disdain between artists. Can the metal and jewelry field overcome its division and send out a much-needed signal?

We appreciate and respect our historical past and acknowledge that current materials have a rightful place in jewelry/object making!

Arriving at this message is the goal of this traveling exhibition opening at the SNAG conference in Boston 2015, Velvet da Vinci, San Francisco, CA - Aug 19 - Sept 20, 2015, Equinox Gallery, San Antonio, TX - Oct 16 - Nov 15, 2015, Baltimore Jewelry Center, Baltimore, MD - Dec 11, 2015 - Jan 08, 2016, Brooklyn Metal Works, Brooklyn, NY - Feb 5 - Mar 4, 2016.

DETAILS on exhibition premise, call for artists, submission guidelines.....

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