has been a cult figure among painters for a long time. You hear of him, you look him up and it seems as if he's been making the same paintings for decades, then you find out that Daniels had a stroke in the late '80s and his career lasted just over a decade. He has not painted since 1987.
At first glance, he could be dismissed as an Neo-expressionist, the fashion of those heady, big shoulder-pad days, but there are eccentricities that don't sync with the Frankie Goes to Hollywood attitude of his contemporaries. The Dutchman's signature "bowtie" motif is intended to suggest the schema of a room in perspective. Like Francis Picabia, a painter he much admired, Daniel's is not quite a coherent oeuvre, but the fluid brushstrokes, cartoony representation and enigmatic iconography present interesting questions. The fascination with Daniels is partly to do with the high formal quality of his painting and its disregard for genre -- qualities which are increasingly displayed by younger, more recent painters. Many of the albatross-like dogmas that restricted artists in the second half of the last century did not settle on Daniels. Like Raoul De Keyser, he's impossible to pigeonhole, but the question remains of where to go with his example... imitating the innovator is a slide into mannerism.
NB: runs till 28/11. Writer and curator Sacha Craddock will give an informal tour of the exhibition on its opening night.