These paintings had aspects about them that made them intriguing. The lack of real dimension made it easy to imagine that nearly any rotation of the paintings could be up. The mark making was varied and coming to and fro from different directions. That the steel or metal structures fell into similar hues as more organic aspects of the work made it engaging to organize and decipher. Molecular shapes are painted largely and seemingly big structures were painted small.
The artist statement mentions Daniel's painting style as restless. I can see this, for while this paintings look done, they don't feel done, but rather feel like the middle of a giant sentence. The sentence of what story remains unclear, but seems tumultuous. From the statement:
"Corrupt fragments turn into ominous and disembodied motifs such as barbed wire or pieces of chain-link fencing. Detritus suggests apocalyptic fallout, or nature overtaking barriers and concrete bunkers"
Aside from the ominous and disembodied (beheaded?) motifs, I think this painter really takes command of the brush stroke. How one might use the stroke to create a sense of meaning or evoke emotion.