Publications ( extraits)

Loaded, cahierde Crimée n°30

Matter, cahier de Crimée n°15Cahier de Crimée n°12, Bootleg vol 1 Galerie Françoise Besson 2011
Beaux-Arts Magazine No. 307, Janvier 2010
www.sub-yu.fr, fevrier 2010
Recent work, catalogue, texte Gwilherm Perthuis 2009
Semaine 44.09, Alchimie du papier
Red, Yellow, Blue, « catalogue IUFM » texte Anne Malherbe
artpress No 350 « exporama », No 307 « la nouvelle peinture en France » artpress 319 « exporama » artpress 323 « les instants suspendus de Daniel Clarke »
« my favorite things » catalogue MAC Lyon texte R Leydier
J-E Denave, Le Progrés 7/7/05, « Chapeau Clarke »
J-E Denave, Le Petit Bulletin, »le diable de la peinture »
Jordan Clavel, Lyon Capitale, 5/7/05, « le peintre du bonheur »
J-E Denave, « Le retour de la peinture figurative »
artpress2 « la scene francaise »
A Nous Paris II, n 299 2/06 « going Home »
articite.com juin 2006 « Daniel Clarke »
Parisart.com Juin 2006 « moments suspendus »
cnap.gouv.fr juin 2006 « starting »
« True love never dies » catalogue Docks Art Fair 90

Bliss, sparkling, sand, 2019
Huile sur lin, 140 x 150 cm
10 000 euros

Last night gala, 2019
Huile sur lin, 155 x 122 cm
9000 euros

The landing (the aquarius), 2019
Huile sur lin, 180 x 190 cm
14 000 euros

Two figures, 2019
Huile sur panneau de bois, 55 x 92 cm
5500 euros

My fields of gladiolas, 2019
Huile sur lin, 200 x 200 cm
15 000 euros

The three trumblers, 2017

huile sur lin, 110 x 120 cm

7000 euros

Rue de Lilles, 2018,

Huile dur lin, 138 x 113 cm
7500 euros

The crossing guards, 2016
Huile sur lin, 120 x 110 cm
7000 euros

Glossary of terms n°34, 2019

technique mixte sur papier, 154 x 105 cm

5000 euros

Glossary of terms n°10, 2018

technique mixte sur papier, 154 x 105 cm

5000 euros

No one at the gate, 2019

technique mixte sur papier, 154 x 105 cm

5000 euros

Rocketman, 2018

technique mixte sur papier, 154 x 105 cm

5000 euros

Brothers, 2019

technique mixte sur papier, 154 x 105 cm

5000 euros

Redflag, 2018

technique mixte sur papier, 154 x 105 cm

5000 euros

The boat, 2018

technique mixte sur papier, 154 x 105 cm

5000 euros

Glossary of terms n°6, 2018

technique mixte sur papier, 154 x 105 cm

5000 euros

Glossary of terms n°11, 2018

technique mixte sur papier, 154 x 105 cm

collection

The suburban triumvirat, 2018

technique mixte sur papier, 154 x 105 cm

5000 euros

Gardening in Rotterdam, 2018

technique mixte sur papier, 154 x 105 cm

5000 euros

Diamond ring and a bar stool, 2019

technique mixte sur papier, 154 x 105 cm

5000 euros

sans titre

technique mixte sur papier, 154 x 105 cm

5000 euros

Glossary of Terms n°2,
Gravure sur bois sur papier Nao Kozo RK -43, ed de 10,

109 x 83 cm, Imprimeur Steindruck, Apetlon Austria
1000 €

Glossary of terms XXI, 2018

aquatinte sur papier Japon, 50 x 61 cm, édition de 6

Imprimeur Domitille Arai, 50 x 61 cm
500 €

Agapanthes, 2018

Gravure sur bois 3 couleurs sur papier Gampi, 57 x 42.5 cm

Imprimé par et chez l’artiste, Edition de 8
650 €

Glossary of terms XX, 2018

Linogravure & Aquatinte sur papier green gampi, Edition de 12
Imprimeur Domitille Arai, 38 x 43 cm
450 euros

 

Glossary of terms V, 2018

Gravure sur bois 7 couleurs sur papier Saunders Waterford 300
Edition de 11 ex, 100 x 75 cm

Imprimeur : Steindruck, Apetlon Austria
1250 €

Bean bad mithology, 2017

Lithographie sur pierre sur papier Zerkall green 300gr
Edition de 15, 59 x 48 cm
Imprimeur Christoph Chavanne et Gabi Pechmann
450 euros

Résist, 2017Lithographie sur pierre sur papier Fabriano 450g rehaut à la main et collage
Edition de 25, 80 x 63 cm
Imprimeur : Christoph Chavanne et Gabi Pechmann
500 euros

The Flag, 2017

Lithographie sur pierre sur papier Fabriano 450g
Edition de 20, 92 x 70 cm
Imprimeur Christoph Chavanne et Gabi Pechmann
700 €

Les 3 muses, 2017

Lithographie sur pierre sur papier Fabriano 450g
Edition de 20, 92 x 70 cm
Imprimeur Christoph Chavanne et Gabi Pechmann
750 €

No direction home, 2016

huile sur lin, 130 x 97 cm

7000 euros

Guileless summer, 2016

lithographie sur pierre sur papier Fabriano 450g, édition de 15

82 x 66 cm

700 €

 

 

Beach Road, 2016
41 x 31.5 cm, Lithographie sur pierre avec rehaut manuel
Edition de 13
600 €

 

Double Craven, 2016
87 x 66 cm, Lithographie sur pierre sur papier Fabriano 450 g
Edition de 15

650 euros

 

False dreams come to roost, clinging together, 2016
Eau forte avec rehaut manuel sur papier Zerkall
Edition de 12, 50.5 x 58.5 cm
750 €

Wonderama, 2016

huile sur lin, 130 x 110 cm

6500 €

 

Santa Monica, 2016
Aquatinte avec monotype sur papier Hahnemuhle
Edition de 13, 55.5 x 50 cm
600 €

 

Palerme, 2016

huile sur lin, 200 x 200 cm

15 000 euros

 

 

Small inside their heart, 2015

huile sur lin, 110 x 120 cm

collection

 

Malone, 2015

huile sur lin, 110 x 120 cm

collection

 

Cérulean dream II, 2013

huile sur lin, 180 x 180 cm

collection

Rauba Capeu, 2013

lithographie 6 couleurs, édition de 15, 63 x 72 cm

770 euros

 

Rue de Lille, 2013

huile sur lin, 116 x 89 cm

6500 euros

 

Open, 2013

huile sur lin, 80 x 80 cm

disponible prix sur demande

 

 

Little Stadford, 2012

encre de chine sur papier, 68 x 51 cm

collection

Aphrodite V, 2011

fusain sur papier, 80 x 73 cm

prix sur demande

 

October III, 2010

acrylique sur papier, 130 x 97 cm

prix sur demande

Transit, 2010

huile et acrylique sur toile, 150 x 100 cm

prix sur demande

Purple Haze, 2009
huile sur lin, 200 x 200 cm

collection

 

x

Clarke’s painting is suspended. In a fragile balance between forms inherited from the history of painting and contemporary treatment of these forms. Between impressionist concern for the climate or aerial effects, and interest in the subject’s position in painting today. Time seems to have stopped in the narrative fragments that are partially delivered to us. Each canvas or drawing captures an isolated experience. But these forms of freeze frame are taken in continuity: in an iconographic corpus which constantly involves the same types of places and the same characters, thus summoning memory to replace these moments extracted from the real temporal continuum in the temporality of painting.
Gwilherm Perthuis, suspension painting (extract)

 

 

______

 

Daniel Clarke was born in New York in 1971. He moved to France in 1993 after completing his studies at Yale.

Solo exhibitions


2019

Landscape as a self portrait, galerie Eidôlon, Paris
Loaded, Galerie Françoise Besson, Lyon, FR
2018
Glossary of terms: multiples, Galerie Françoise Besson, Lyon, FR
2017
Yohann Gallery, Paris FR
Planthouse, NYC, NY USA
2016
Black and white and things_ Galerie Françoise Besson, Lyon FR
2015
Artist Invited, Los Angeles, CA USA
2013
Bootleg Vol 1, Galerie Françoise Besson (catalogue)
Galerie Pierrick Touchefeu
2012
Matter, Gallery Francoise Besson (catalogue)
2011
Daniel Clarke, Château St Marcel de Felines, St Marcel de Felines, FR
Ladiray Gallery, London, UK (catalogue)
2010
Hohenthal und Bergen, Berlin DE
2009
Galerie Francoise Besson, Lyon FR (catalogue)
2008
Galerie Jerôme Ladiray, Rouen FR
Galerie IUFM Confluences, Lyon France, FR (catalogue)
2007
True love never dies, Galerie Françoise Besson, Lyon FR (catalogue)
2006
The Grenfell Press, NYC USA
Galerie Eric Mircher, Paris FR
Irish Cultural Center, Paris FR

 

group shows

2020

Le souffle, galerie Françoise Besson
2019
L’esprit d’une collection, les donations, Fondation Maeght, Saint Paul de Vence, FR
Horseback and love affairs, , Duo Daniel Clarke & Florence Reymond, MAPRAA Lyon, FR
2016
EAB Fair, Planthouse, NY USA
ArtParis, Grand Palais, Paris, FR
2015
ArtParis, Grand Palais, Paris FR
Jack Geary Contemporary, Dallas Art Fair, Texas
Planthouse Gallery, Art Show Today, NYC
2014
Fondation Colas, Boulogne Billancourt, FR (catalogue)
Devenir Arbre, les 10 ans de la Galerie Françoise Besson
2013
Drawing Now, Galerie Françoise Besson, Paris, FR
2012
Drawing Now, Galerie Françoise Besson Paris, FR
Galerie Pierrick Touchefeu, avec Bernini, Passeux, & Reymond
2011
Salon du Dessin, Galeries Françoise Besson & Ladiray Gallery Paris, FR
Arte Fiera, Gallery Hohenthal und Bergen, Bologne, IT
Art on Paper, Galerie Françoise Besson, Brussels, BE
Galerie Placido, Paris, FR
Les rencontres au Jardin du Hauvel, Calvados, FR
2010
Scope Miami, Galerie Hohenthal und Bergen,Miami FLA
Art Karlsruhe, Galerie Hohenthal und Bergen, Karlsruhe DE
Scope Basel, Galerie Françoise Besson & Hohenthal, Basel, CH
Salon de Dessin contemporain, Paris France Galerie Françoise Besson
2009
RHA 179th annual exhibition, Dublin IE
Scope Basel, Galerie Françoise Besson, Basel, CH
L’alchimie du papier, Galerie Françoise Besson, Lyon, FR
Show-Off, Galerie Jérôme Ladiray, Paris FR
Docks art Fair, Galerie Françoise Besson Lyon, FR

> Inside

Daniel Clarke

Loaded

5 septembre > 12 octobre 2019

 

My work of the last three years situates itself in a landscape that seeks to confront my unconscious with that of contemporary political et sociological parameters. The work’s ambition is to confront my own history with that with which surrounds me and nourishes me. I aspire, through the paint to construct a Jungian language that aims to give a voice to the fabric of my experience. The use of stencils is essentially to tap into forms as if they were architectural ruins or sculptural fragments alluding to a place. I see the work as that of a cartographer, mapping, listing but with the freedom of my hand to distort, oppose and articulate the landscape, not in a photographic way but with a spiritual, instinctive and cosmological ambition.

Daniel Clarke, mars 2011

 

 

 

 

Lire la vidéo de l’exposition

 

 

 

 

> Inside

Daniel Clarke

Loaded

5 septembre > 12 octobre 2019

 

My work of the last three years situates itself in a landscape that seeks to confront my unconscious with that of contemporary political et sociological parameters. The work’s ambition is to confront my own history with that with which surrounds me and nourishes me. I aspire, through the paint to construct a Jungian language that aims to give a voice to the fabric of my experience. The use of stencils is essentially to tap into forms as if they were architectural ruins or sculptural fragments alluding to a place. I see the work as that of a cartographer, mapping, listing but with the freedom of my hand to distort, oppose and articulate the landscape, not in a photographic way but with a spiritual, instinctive and cosmological ambition.

Daniel Clarke, mars 2011

 

 

 

 

Lire la vidéo de l’exposition

 

 

 

 

> Inside

Daniel Clarke

Loaded

5 septembre > 12 octobre 2019

 

My work of the last three years situates itself in a landscape that seeks to confront my unconscious with that of contemporary political et sociological parameters. The work’s ambition is to confront my own history with that with which surrounds me and nourishes me. I aspire, through the paint to construct a Jungian language that aims to give a voice to the fabric of my experience. The use of stencils is essentially to tap into forms as if they were architectural ruins or sculptural fragments alluding to a place. I see the work as that of a cartographer, mapping, listing but with the freedom of my hand to distort, oppose and articulate the landscape, not in a photographic way but with a spiritual, instinctive and cosmological ambition.

Daniel Clarke, mars 2011

 

 

 

 

Lire la vidéo de l’exposition

 

 

 

 

> Inside

Daniel Clarke

Loaded

5 septembre > 12 octobre 2019

 

My work of the last three years situates itself in a landscape that seeks to confront my unconscious with that of contemporary political et sociological parameters. The work’s ambition is to confront my own history with that with which surrounds me and nourishes me. I aspire, through the paint to construct a Jungian language that aims to give a voice to the fabric of my experience. The use of stencils is essentially to tap into forms as if they were architectural ruins or sculptural fragments alluding to a place. I see the work as that of a cartographer, mapping, listing but with the freedom of my hand to distort, oppose and articulate the landscape, not in a photographic way but with a spiritual, instinctive and cosmological ambition.

Daniel Clarke, mars 2011

 

 

 

 

Lire la vidéo de l’exposition

 

 

 

 

> Inside

Daniel Clarke

Loaded

5 septembre > 12 octobre 2019

 

My work of the last three years situates itself in a landscape that seeks to confront my unconscious with that of contemporary political et sociological parameters. The work’s ambition is to confront my own history with that with which surrounds me and nourishes me. I aspire, through the paint to construct a Jungian language that aims to give a voice to the fabric of my experience. The use of stencils is essentially to tap into forms as if they were architectural ruins or sculptural fragments alluding to a place. I see the work as that of a cartographer, mapping, listing but with the freedom of my hand to distort, oppose and articulate the landscape, not in a photographic way but with a spiritual, instinctive and cosmological ambition.

Daniel Clarke, mars 2011

 

 

 

 

Lire la vidéo de l’exposition

 

 

 

 

> Inside

Daniel Clarke

Loaded

5 septembre > 12 octobre 2019

 

My work of the last three years situates itself in a landscape that seeks to confront my unconscious with that of contemporary political et sociological parameters. The work’s ambition is to confront my own history with that with which surrounds me and nourishes me. I aspire, through the paint to construct a Jungian language that aims to give a voice to the fabric of my experience. The use of stencils is essentially to tap into forms as if they were architectural ruins or sculptural fragments alluding to a place. I see the work as that of a cartographer, mapping, listing but with the freedom of my hand to distort, oppose and articulate the landscape, not in a photographic way but with a spiritual, instinctive and cosmological ambition.

Daniel Clarke, mars 2011

 

 

 

 

Lire la vidéo de l’exposition

 

 

 

 

> Inside

Daniel Clarke

Loaded

5 septembre > 12 octobre 2019

 

My work of the last three years situates itself in a landscape that seeks to confront my unconscious with that of contemporary political et sociological parameters. The work’s ambition is to confront my own history with that with which surrounds me and nourishes me. I aspire, through the paint to construct a Jungian language that aims to give a voice to the fabric of my experience. The use of stencils is essentially to tap into forms as if they were architectural ruins or sculptural fragments alluding to a place. I see the work as that of a cartographer, mapping, listing but with the freedom of my hand to distort, oppose and articulate the landscape, not in a photographic way but with a spiritual, instinctive and cosmological ambition.

Daniel Clarke, mars 2011

 

 

 

 

Lire la vidéo de l’exposition

 

 

 

 

> Montée Allouche

Daniel Clarke

True Love Never Dies

13 > 27 septembre 2005

> Montée Allouche

Daniel Clarke

True Love Never Dies

13 > 27 septembre 2005

> Montée Allouche

Daniel Clarke

True Love Never Dies

13 > 27 septembre 2005

> Montée Allouche

Daniel Clarke

True Love Never Dies

13 > 27 septembre 2005

> Montée Allouche

Daniel Clarke

My favorite things

18 juin > 13 août 2005

> Montée Allouche

Daniel Clarke

My favorite things

18 juin > 13 août 2005

x