The work of the young Sevillian painter Daniel Sánchez Palomo (Dos Hermanas, 1999) draws on figuration and the classical and Christian iconographic tradition to create nocturnal scenes in which the characters perform ritualistic actions somewhere between the mystical and the erotic, inviting reflection on Eros and Thanatos, the life drive and the death drive. His creative process incorporates both personal experiences and aesthetic influences from different fields, such as the postdramatic theatre of Angélica Liddell, as well as conceptual influences, such as the thought of Georges Bataille or Edmund Burke.
The landscapes in his works —crossroads, firebreaks, private hunting grounds— are presented as spaces removed from suited life, from rules and from wakefulness. They are places of transit and exception, terrains where any action seeks to evade discovery. And within them, a light, a whitish beam, curiously encounters along its path, like a car coming across a hare about to be run over, human animals, unsuspecting, irascible, naked. Humans surrendered to a ceremony that is difficult to decipher. There is lust, fear, abandonment, hunger and, also, a certain shame in them: that of having been discovered.
Sánchez Palomo’s painting seems to pause precisely at that instant: when that which had remained hidden is exposed for a second. His gaze therefore takes on something of photography, of intrusion and voyeurism, of interference. Thus, to look is to appear within the scene, to illuminate it and, therefore, to become part of the ritual.
This nocturnal quality, more than the moment itself, becomes the space where social conventions lose their consistency and the body, liberated or condemned by its impulses, regresses towards animalism. Religious iconography then reappears stripped of its symbolic charge: gestures of devotion become confused with those of sexual pleasure, the offering with pagan sacrifice, and the apparition with the accident, with being run over.
His scenes contain something of memory —and also of hallucination— and of premonition at the same time. Something that cannot be identified has happened, or is about to happen, but the painting only allows us to contemplate that suspended interval in which the viewer still cannot distinguish whether they are witnessing a revelation or a threat. They do not know whether they should become aroused or flee, nor whether they want to do so.
FORMACIÓN ACADÉMICA
· Grado en Bellas Artes por la Universidad de Sevilla (2017-2021)
· Máster en Arte: Idea y Producción por la Universidad de Sevilla (2021-2022)
· Máster Universitario en Profesorado en Enseñanza Secundaria Obligatoria y Bachillerato,
Formación Profesional y Enseñanza de Idiomas (2023-2024)
BECAS Y RESIDENCIAS
· VIII Curso de realismo y figuración para pintores a cargo de Antonio López y Andrés
García Ibáñez (Museo-Casa Ibáñez, 2019)
· Promoción XXIV de la Fundación Antonio Gala para Jóvenes Creadores (2025-2026)
SOLO EXHIBITIONS
2024 Una cañada donde caerme, Espacio Laraña - Facultad de Bellas Artes de Sevilla
2021 Diré cómo nacisteis (Un gato en Bicicleta)
GROUP EXHIBITIONS
2026 Entre el aire impaciente, Fundación Antonio Gala.
2024 Caos y Éter, Espacio Santa Clara.
2022 SER / ESTAR / HABITAR, Facultad de Bellas Artes de Sevilla.
2021 Lo mejorcito de cada casa, Pan y Circo.
ART FAIRS
2026-Estampa, Madrid
