Daniel Rios Rodriguez

Daniel Rios Rodriguez, Sophora Secundiflora Moon, 2018, oil, rope wood, copper, limestone, Texas Mountain Laurel seeds on wood panel, 38.1 x 43.18 cm / 15 x 17 in

Daniel Rios Rodriguez, Chamizal, 2018, oil, Flashe, wood, copper, limestone, nails and rope on wood panel, 37.5 x 44.4 cm / 14.8 x 17.5 in   

Daniel Rios Rodriguez, Zaza Garden, 2017, acrylic, nails, rope, wire, and found objects, 24.1 cm x 29.2 cm / 11.5 x 9.5 in

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Daniel Rios Rodriguez, Bright Dark, 2017, oil, Flashe, foam, wood, rope and nails on panel, 36.8 cm x 40.6 cm / 14.5 x 16 in

Daniel Rios Rodriguez, Jumbo, 2017, oil, nails, rope, plastic, foil, roofing shingles, and Styrofoam on panel with artist-made frame, 50.8 cm x 50.8 cm / 20 x 20 in 

Daniel Rios Rodriguez, Lights Revolt, 2017, oil, nails, rope, Styrofoam and found objects on panel with artist-made frame, 50.8 x 50.8 cm / 20 x 20 in 

Daniel Rios Rodriguez, Snake Theory, 2017, oil, nails, rope and glass on panel with artist-made frame, 44.5 cm x 55.9 cm / 17.5 x 22 in 

Daniel Rios Rodriguez, Bijou Bower, 2017, oil, nails, rope and found objects on panel with artist-made frame, 20.3 cm x 22.9 cm / 8 x 9 in 

Daniel Rios Rodriguez, Self-Portrait on Fire, 2017, oil, nails, rope and found objects on panel with artist-made frame, 38.1 cm x 25.4 cm / 15 x 10 in 

Daniel Rios Rodriguez, Traps, 2016, oil and linen on plywood with artist-made rope frame, 24.1 cm x 29.2 cm / 9.5 x 11.5 in 

Daniel Rios Rodriguez, Morning Breath, 2016, oil and objects on plywood with artist-made rope frame, 19.1 cm x 29.2 cm / 7.5 x 11.5 in 

Cooper Cole Gallery, Toronto, 21 July – 9 September 2017

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Daniel Rios Rodriguez, Controlled Burn, Nichelle Beauchene Gallery, New York, 21 April – 21 May

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b. 1978, Killeen, TX

 

Daniel Rios Rodriguez makes intimate and exuberant semi-figurative paintings that combine images from nature with fantastical visions. The artist works on a small scale, building coarse layers of impasto upon homemade panels in irregular shapes (uneven rectangles, ovals, starburst forms with jagged edges). Often these assemblages bear impromptu frames, built by the artist with found wood, frayed strips of rope, nails or copper wire, introducing a collaged element. “Daniel Rios Rodriguez’s quirky, unassuming paintings don’t fall into any easily recognisable niche or category”, writes Art in America’s Kyle MacMillan. Though his work is informed by the canon of European Modernism and art historical painting, the artist looks equally towards peripheral figures like the visionary Texan painter Forrest Bess.

 

Rios Rodriguez’s subject matter is mostly derived from nature. Many paintings provide an obscured and abstracted version of the artist’s personal experiences – vivid vignettes enriched by a cosmic colour palette and bold, decorative flourishes. Other works filter the time-honoured genres of still life, landscape and memento mori through the kaleidoscopic lens of American folk art: paintings of birds, rivers, flora and fauna are embellished with dried ears of wheat, fragments of rock, feathers or seashells. This perverse and unsettling treatment of the traditional subjects of European painting, enshrined with organic detritus, imbues Rios Rodriguez’s paintings with an almost talismanic quality.

 

Forthcoming exhibitions include Kerlin Gallery (September 2018); Right Here, Right Now: San Antonio, Contemporary Arts Museum Houston (2018) and a solo show at San Antonio Museum of Art, Texas (2019). Recent solo exhibitions include Cooper Cole, Toronto; Controlled Burn, Nicelle Beauchene, New York (both 2017); Lulu, Mexico City; Western Exhibitions, Chicago (both 2016); Artists Looking at Art, McNay Art Museum, San Antonio (2015).
 

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frieze

Tau Lewis, Curtis Santiago and Daniel Rios Rodriguez Cooper Cole, Toronto, Canada

September 2017

[…] Meanwhile, in Cooper Cole’s downstairs space, Daniel Rios Rodriguez’s solo exhibition similarly employs a rough-edged aesthetic to thematize issues of identities that refuse to be limited by the synthetic boundaries of nation-states. For example, the upright snake in the colourful, impatiently hewn Nerodiasuggests a do-it-yourself caduceus or rod of Asclepius (alluding to, respectively, commerce and healing) while its name references a water snake common to Rodriguez’s home state of Texas yet found throughout North America. The Nerodia is a curious figure for resistant, mobile identity: widespread, tough, adaptable, but dully coloured and non-venomous. Nonetheless, without capturing much attention, it has infiltrated a huge geographical range, which it seems destined to occupy for centuries to come. […]—Charles Reeve

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Contemporary Art Review Los Angeles (Carla)

Milano Chow, Ann Greene Kelly and Daniel Rios Rodriguez at Michael Benevento

2 August 2017

[…] Daniel Rios Rodriguez’s work is our introduction—small-scale, semi-vernacular assemblages that call to mind the mythic and often obscure imagery of folktales or religious visionaries. A sort of visual equivalent to the oral tradition, Rodriguez’s Bright Dark (2017) in particular resembles a florid retelling of an airplane crash. Egretta’s (2017) patterned perspective drives our view toward a pearl-like object at its center—explicit meaning taking a back seat to pure reverence. […]—Aaron Horst

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The Irish Times

Review: New talent at the Kerlin

1 August 2017

[…] Rios Rodriguez’s work has the richly impasto feel of Paul Mosse’s paintings, coupled with a bit of Braque collage, although his tactile pieces (oh, how you want to touch them) are more figurative. Look closely to discover there’s much more than paint going on. Shy Violets (2017), is a delicious little oval of thick oil paint, with nails, rope and glass all in the mix. It’s a pleasure to make out the delicate little flower heads, struggling for being among all that material detritus. […]

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Artforum

Critic’s Pick: Milano Chow, Ann Greene Kelly, Daniel Rios Rodriguez MICHAEL BENEVENTO

July 2017

In another room, Daniel Rios Rodriguez’s painted sculptures flirt between two- and three-dimensionality. His bright and joyous wall hangings, made with wood, rope, and nails, are at once abstract altarpieces and dartboards with curves and angles gone haywire. Despite this trio’s disparate techniques and separate presentations, there is a quiet and intriguing overlap between each artist’s perception of the world.

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The New York Times

Art and Museums in NYC This Week

11 May 2017

DANIEL RIOS RODRIGUEZ: ‘CONTROLLED BURN’ at Nicelle Beauchene Gallery (closes on May 21). This San Antonio-based artist’s toothsome little panel paintings are like present-day icons devoted to nature and abstraction that also take tips from the early modernists who merged them. Rotating among plant forms, glimpses of outer space and schematic self-portraits, they are indebted to Marsden Hartley’s robust brushwork and rich palette, Forrest Bess’s visionary quirkiness and Arthur Dove’s collage-assemblages. Built as much as painted, they are supplemented with marbles; dried weeds; ribbon; small stones; and scraps of wood, shingle and jewelry — all of which enhance the votive quality. There’s also rope, sometimes burned and sometimes used for framing, echoing Picasso’s famous 1912 “Still Life With Chair Caning.” Occasionally the edges break out in jagged zigzags. In the radiant “Jumbo,” they might be sunbeams, or signs of the discovery of the Higgs boson.—Roberta Smith

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Mousse

Theory of the Minor

February–March 2017

[…] Unlike the major, which ratifies, reaffirms, and relies upon specific, already thoroughly codified linear, if dialectical, art historical traditions (for instance Wade Guyton is the quintessential major painter, and it is perhaps no mere coincidence that his latest body of work was actually the news), the minor creates or unearths new or unexpected, if tangential, trajectories. To this end, examples of contemporary minor painting range in age and geography from the Canadian, London-based Allison Katz, to the Belgian éminence grise Walter Swennen, to the Texan Daniel Rios Rodriguez, whose practices variously engage and depend upon minor practitioners from Francis Picabia to René Daniëls to Forrest Bess (all of whom have recently been subject to revivals—meaning we could very well be in the age of the minor). Abandoning a linear approach toward the horizon of painting, they could be said to move along it in lateral shifts and jumps, while developing radically idiosyncratic pictorial methods and idioms. […] —Chris Sharp

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Art in America

Daniel Rios Rodriguez

Daniel Rios Rodriguez’s quirky, unassuming paintings don’t fall into any easily recognizable niche or category, as was seen in the up-and-coming San Antonio artist’s first solo show at Western Exhibitions. With their homemade and found wood frames, their collaged elements (shells, river rocks, feathers), and their deliberately unrefined paint-handling, these works have a rustic, do-it-yourself feel. […]—Kyle MacMillan

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Visual Art Source

Daniel Rios Rodriguez

February 2016

Daniel Rios Rodriguez is known for his modestly-sized paintings and drawings featuring bold line work and collaged material. The Yale alum’s aesthetic is Modernist-meets-Outsider, with knowing, painterly conventions commingled with rather straightforward imagery and narratives direct from his everyday life. Rodriguez’s prior works are populated with images of symbolic skulls and literal paintbrushes. For the current show the natural landscape surrounding the artist’s home in San Antonio, Texas provides his subject matter. […]—Robin Dluzen

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