Daniel Rios Rodriguez

Daniel Rios Rodriguez,
Las Nubes, 2020,
oil, styrofoam and rope on canvas with wood frame,
170.2 x 111.8 cm / 67 x 44 in  

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Daniel Rios Rodriguez,
2020, 2020,
oil and mirrors on terra cotta,
35.6 cm  / 14 in diameter

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Daniel Rios Rodriguez, The married man, 2020, oil, rope and copper on wood, 50.8 x 39.4 cm / 20 x 15.5 in

Daniel Rios Rodriguez, Solito, 2020, oil, rope, copper limestone on terra cotta, diameter 43.2 cm / 17 in

Daniel Rios Rodriguez, Sombra Maximiliani, 2018, Oil, nails, rope, aluminum, copper on wood panel, 116.8 cm / 46 in diameter   

Daniel Rios Rodriguez,
Nyctanassa, 2018,
Oil nails, rope, wood, aluminum, acrylic, river stone, Texas mountain laurel bean on wood panel 116 x 116 cm / 45.7 x 45.7 in

Daniel Rios Rodriguez, Hot Spring, 2020, Oil, rope, copper wire on wood with wood frame, 31.8 x 36.8 cm / 12.5 x 14.5 in  

Daniel Rios Rodriguez, Terco, 2019, Oil on terra cotta, 35 x 35 cm / 13.8 x 13.8 in

Daniel Rios Rodriguez, Hotwells, 2018, oil, acrylic, rope, nails, linen, aluminium on wood panel, 66 cm diameter / 26 in diameter   

Daniel Rios Rodriguez, Zenaida, 2018, Oil, acrylic, rope, nails, aluminum and river stone on wood panel, 66 cm diameter / 26 in diameter    

Daniel Rios Rodriguez, Maracuya, 2018,
Oil, nails, rope on wood panel 38 x 38 cm / 5 x 15 in

Daniel Rios Rodriguez, Sol, 2018, oil, nails, rope, aluminum and linen on wood panel, 40.6 cm / 16 in diameter   

Daniel Rios Rodriguez, Zenaida, 2018, Oil, acrylic, rope, nails, aluminum and river stone on wood panel, 66 cm diameter / 26 in diameter    

Daniel Rios Rodriguez,
Flash Erecta, 2018,
Oil, nails rope, aluminum on wood panel 36.8 x 36.8 cm / 14.5 x 14.5 in

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 

Daniel Rios Rodriguez, Bite The Tongue, Kerlin Gallery, 27 August – 29 September 2018 (Opening: 6 September) © Daniel Rios Rodriguez & Kerlin Gallery

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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. Daniel Rios Rodriguez was an artist-in-residence at the Chinati Foundation, Marfa, 2018. 
Recent solo exhibitions include: bruisers, Art Pace, San Antonio, TX, USA, (2019); Bite The Tongue, Kerlin Gallery, Dublin, Ireland, (2018); Chinati Foundation, Artist in Residence Exhibition, Marfa, Texas, USA, (2018) and Artists Looking at Art, McNay Art Museum, San Antonio, TX, USA, (2015). Recent group exhibition’s include: The Botanical Mind, Camden Arts Centre, London, UK (2020); City Prince/sses, Palais de Tokyo, Paris, France, (2019); Shadowplay, Kerlin Gallery, Dublin, Ireland, (2019); Hannah Fitz, Áine McBride, Daniel Rios Rodriguez, Marcel Vidal, Kerlin Gallery, Dublin, Ireland, (2017); Cabinet of Curiosities, Mini Art Museum, San Antonio, TX, USA, (2015); La Casa Cultural, Group Show, Yale University, New Haven, USA, (2007) and Juventus, Ukrainian Institute of Modern Art, Chicago, USA, (2007).
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Daniel Rios Rodriguez, The Botanical Mind

The Botanical Mind at Camden Arts Centre

24 September - 23 December 2020

Camden Arts Centre, London

Daniel Rios Rodriguez in group show 'The Botanical Mind: Art, Mysticism and The Cosmic Tree' curated by Gina Buenfeld and Martin Clark at Camden Arts Centre, London.

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Daniel Rios Rodriguez, Feuilleton

18 July - 1 August 2020

Feuilleton, Los Angeles

For his solo exhibition at Feuilleton, Daniel Rios Rodriguez presents a new series of India ink drawings on paper and a single painting, all of which were created in the past few months. 

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Daniel Rios Rodriguez, City Prince/sses

Palais de Tokyo, Paris, France

21 June - 8 September 2019

The exhibition City Prince/sses is presented as an imaginary, multiple and complex city, without borders, messy, staggering and creative: an unpredictable laboratory, which is always in motion and being (re)constructed. Visual artists, creators, fashion designers, experimenters, tattooists, musicians: a good fifty artists are presented without any geographical grouping, mostly via new productions and in situ interventions.


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Daniel Rios Rodriguez, bruisers

The Hudson Showroom, Artpace, Texas

16 May – 19 August 2019

Daniel Rios Rodriguez's solo exhibition bruisers in The Hudson Showroom will include a collection of new paintings, small sculptures and a few drawings. 

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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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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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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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