The works reference observations from the surrounding environment from different days and points in time. Environmental qualities such as light and colour from a sunset or overcast conditions inspire the palette choices and mark making throughout the course of making each work. Objects and structures such as architectural elements and trees in the studio space manifest themselves in the structure and composition of the works. These elements are also reflected and abstracted by the glass that encircles the working space which informs the transparent surface of the work.
Glass has unique materialistic properties; it is transparent, reflective and it is used to separate environments in architecture. The works in A Shadow on the Glass are informed by these qualities of glass. A transparent layer of paint is applied to the surface, it dries, and is then covered by the next layer of transparent paint. The next colour and composition is carefully chosen to interact with the previous layer. As this process is repeated a complex image emerges composed of shapes and colours from the preceding layers visible due to the transparency of paint.
Further, like the surface of glass, structures that appear on the surface as reflections can recede or come forward into the viewers field of vision. Also, structures visible behind the transparent surface, or in the preceding layers of paint, are visible and but can be somewhat elusive to place optically. These effects create a highly complex surface that has a distinct feeling of depth and a temporal quality caused by the building of surface and colour methodically.
For A Shadow on the Glass Maximilian Daniels forged each component of the process-based paintings from scratch. He selected and primed the canvas by hand, and hand-made all of the individual stretchers and frames to precision. The resulting body of work demands a closer look as the delicate, complex surfaces emerge overtime, revealing the subtitles of colour and composition.