Daniel Verbis

Throughout his professional career, Verbis, who has never stopped experimenting and renewing his plastic language, has managed to produce a hybrid work that has been shown in many galleries, fairs and art centers such as the MUSAC in León, the CAB in Burgos, the Sala Amós Salvador in Logroño or the Drawing Center in New York. In the early nineties his work began to move away from painting to give way to works of a conceptual nature. At the same time he changed his name, changing his first surname, Gutiérrez, to Verbis. In these conceptual works, of a markedly procedural character, authorship was annulled by graphically registering propositions or linguistic formulas, which resulted in a series of drawings on the wall or on recycled paper. These works, sometimes ephemeral, constitute the most representative part of his work until the end of that decade. From 2000 onwards, Verbis' work becomes more inquisitive, more fluctuating, and he begins to introduce unusual materials into his painting (cotton threads, plasticine, canvas, buttons...) It is precisely at that moment when the stretcher becomes a characteristic element of his painting. In the attempt to reconstruct the idea of the painting as an object, Verbis will end up deconstructing the idea of what painting could or could not be.