Daniel Canogar

Daniel Canogar - Universal Loom i

Biografía del Artista: Daniel Canogar is a Spanish contemporary artist born in Madrid in 1964. He is known for his work at the intersection of art, technology and science, exploring the relationship between humans and technology through multimedia installations. Canogar graduated in Fine Arts from the Complutense University of Madrid in 1985, and in 1989 he moved to New York to continue his studies at the Pratt Institute, where he specialized in photography and video. In the 1990s he began working in multimedia installations, using video projections and screens to create works that engaged the viewer in an interactive dialogue. Throughout his career, Canogar has exhibited his work in galleries and museums around the world, including the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Museum of Contemporary Art in Seville, and the Denver Museum of Contemporary Art in the United States. He has also worked on several public projects, such as the permanent installation "Wave" at Charlotte-Douglas International Airport in North Carolina. One of Canogar's best-known works is "Assault", a 2005 installation consisting of a giant LED screen suspended in the air, displaying a series of moving images taken from action movie scenes. The work was exhibited at the group exhibition "Infinite Painting" at the Museum of Contemporary Art in Sofia in 2012. In addition to his work in the visual arts, Canogar has also been a professor at the European University of Madrid and has collaborated with several technology companies on research and development projects. In 2014, he was awarded Spain's National Electronic Art Award for his contribution to the discipline of digital art.

The Universal Loom series embraces the recognition of textiles as a legitimate art genre. In their exploration, the pieces in “Universal Loom” focus on the aesthetic dimensions of digital textiles, delving into the materiality of digital weaving. All three works pay homage to the groundbreaking work of artists such as Annie Albers, who metaphorically linked textiles to our modern urban networks or the circuitry of the human brain. In Universal Loom I, the screen frame evokes the structure of the loom. The digital fibers momentarily adhere to the surrounding frame, while at other times they break away and seem to crystallize on the screen. The divisions between screen and loom dissolve, weaving a space where the digital and textile worlds are intricately intertwined.