Naarm (Melbourne) based artist, Daniel O’Toole makes multi-media works spanning sculptural colour-field paintings, video and sound. Having worked as a musician and trained as an audio engineer, Daniel plays a range of instruments and produces experimental electronic music that has been seamlessly integrated into his synaesthetic video works that appear to be moving versions of his paintings. The range of media and sensory modes of communication have come together to form an expansive practice that deals with natural phenomena.

Daniel has an almost scientific way of utilising technology and industrial fabrication processes to interface between humanity and the natural world. The result being as playful and unexpected as it is luminous and subtle. 

Photography has always accompanied my painting — the quiet force riding alongside, sometimes leading the way. I’m drawn to the dialogue between the two: making photographs that feel like paintings, and paintings that echo photographic qualities.

Lately, I’ve been exploring film soup — soaking film in everyday ingredients like salt or vinegar to introduce unpredictable textures and distortions. I’ve also begun working with semi-transparent acrylic surfaces layered with liquids and pigments, creating abstract compositions that filter and refract light.

It’s like an analogue form of Photoshop, but with a human touch. Through these processes, I’ve embraced chance and impulse as a creative ethos, letting colour, light, and materiality guide the work organically.

Photography has always accompanied my painting — the quiet force riding alongside, sometimes leading the way. I’m drawn to the dialogue between the two: making photographs that feel like paintings, and paintings that echo photographic qualities.

Lately, I’ve been exploring film soup — soaking film in everyday ingredients like salt or vinegar to introduce unpredictable textures and distortions. I’ve also begun working with semi-transparent acrylic surfaces layered with liquids and pigments, creating abstract compositions that filter and refract light.

It’s like an analogue form of Photoshop, but with a human touch. Through these processes, I’ve embraced chance and impulse as a creative ethos, letting colour, light, and materiality guide the work organically.

Poly Rhythms
Poly Rhythms
Poly Rhythms
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Major Pentatonic 1
Major Pentatonic 1
Major Pentatonic 1
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Earth Frequency
Earth Frequency
Earth Frequency
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Cell theory #3
Cell theory #3
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Major Pentatonic 2
Major Pentatonic 2
Major Pentatonic 2
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Field Recordings
Field Recordings
Field Recordings
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Blue Notes
Blue Notes
Blue Notes
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Poly Rhythms
Poly Rhythms
Poly Rhythms
$ Contact Gallery
Major Pentatonic 2
Major Pentatonic 2
Major Pentatonic 2
$ Contact Gallery
Major Pentatonic 1
Major Pentatonic 1
Major Pentatonic 1
$ Contact Gallery
Field Recordings
Field Recordings
Field Recordings
$ Contact Gallery
Earth Frequency
Earth Frequency
Earth Frequency
$ Contact Gallery
Blue Notes
Blue Notes
Blue Notes
$ Contact Gallery
Cell theory #3
Cell theory #3
$ Contact Gallery

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