I have always been fascinated by process. When I was younger, I was fixated on why people brush some things aside – objects, places, other people – yet seem to cling to others. Eventually realising that we are inevitably influenced by personal histories and experiences, I came to see that they are in each decision we make; they are in the millions of years of our evolution; they are the lens through which we view last week’s events. This process of building and creating, of external and internal forces acting upon us subconsciously, has been the inspiration behind my art. I am not interested in final results; I want to deconstruct the journey and trace each path back to the starting point. I’m looking for the primordial, the essential – something that was always there, fundamental and unchanging, that which cannot be erased. I am looking for the raw feeling. My artwork is a personal view of my daily life, including my subconscious: each series has its origin point in my dreams. The works aren’t an esoteric take on meaning or divine relations; instead, I see them just as images generated by my brain based on experiences lived by me, and only this. My interest in these images is how they make me feel when I awaken. In the dreams, I’m merely a spectator, unable to judge or exert any control over the progression or outcome of the scenario – so I allow myself to be controlled by them. In return, they teach and give me direction. They are reminders that I need to think, to research, to delve deeper into a thought or subject. The resulting images aren’t a direct materialisation or narrative of these flashes, but rather translations of or conclusions reached after consideration of these feelings. I, as anyone, know that we can’t control time; and, as anyone, I am acutely frustrated at the realisation that we are all at the complete mercy of the conditions imposed by the passing of time.
Nonetheless, we attempt to deceive ourselves by creating tools that generate a constant present and distract us from our imminent mortality. Gives us a sense of control – a false sense of control. Perhaps this is our greatest pain – to contemplate our brief existence in this immense constant and understand that time will march on without our presence. I try to alleviate these thoughts by creating involucres of memories and cataloguing. In the moments and movements between searching, learning and saving, the image surges to life, determining and clarifying the technique that will guide the physical production of the work. Technique is important and inspires the work, as does everything around me; I seek new and unusual techniques that will allow me to experiment and allow me to learn, often creating my own tools. However, technique is not the main focus of my art. Building lenses, creating new developers film, changing the software of digital cameras – these are all borne from a curiosity to explore how objects and processes work and a desire to participate in the each stage of construction and production. It’s about following a path from its starting point. I believe that our knowledge is valid only when we can experience it completely – when we are a part of it. To recognise and acknowledge the importance of the journey is necessary for understanding. When I look back at a certain series, I see through the images to each of its stages, to each of the difficulties, and it is at once re-personalised. It’s like looking at a scar from a childhood fall. I don’t see it with sadness; after remembering the act and the consequent pain, I remember the rest. It is a moment on a continuum, and I am reminded that I am alive and part of something. Maybe memory is the only thing we have left.
About Daniel Malva: Brazilian artist was born in 1977 in Ribeirão Preto, Brazil, he lives and works in São Paulo. BA in Photography (SENAC-2006) and BA in Mechatronics (SENAI-2015).
At the age of 13, Malva began working in an advertising studio, where he spent the next eight years drawing and experimenting with various media. Before earning a degree in Photography (Senac-SP, 2006) and in Mechatronics (Senai-SP, 2015), Malva studied Biology and Chemical Engineering, and although he did not completed these courses, his interest in both subjects led him to work in the Genome Project between 1998 and 2001.
Since 2004, Malva has been in constant search of new approaches to his photography, by making his own lenses, creating new film developing processes, reprogramming the software of digital cameras – all of which are based on his curiosity and sense of exploration into the inner workings of objects and processes. In 2009, Malva presented the photographic essay entitled Museu de História Natural (Natural History Museum) at Galeria Mezanino. This series was also part of the exhibition and book Generation 00 – The New Brazilian Photography curated by Eder Chiodetto. In October 2013, the artist starts being represented by the art gallery Kristin Hjellegjerde in London, and in 2014, he holds two solo exhibitions, in London and Oslo respectively.
OJardim, Mezanino Gallery, São Paulo, Brazil
A medida do tempo das coisas, Solar da Marquesa de Santos, São Paulo, Brazil
gabinete de curiosidades, Kristin Hjellegjerde Gallery, London, UK
gabinete de curiosidades, Shoot Gallery, Oslo, Norway
Organometrismo, Rio de Janeiro Botanical Gardens, Rio de Janeiro, Brazil
Natural History Museum, Espaço Ophicina Gallery, São Paulo, Brazil
Natural History Museum, Mezanino Gallery, São Paulo, Brazil
Pequenos formatos, Mezanino Gallery, São Paulo, Brazil
Movimenta#1, Mezanino Gallery, São Paulo, Brazil
Lavoro 19, Espaço Ophicina Gallery, São Paulo, Brazil
There and Back, IPF, Lisboa and Porto, Portugal
Paysage, L’oiel Gallery, São Paulo, Brazil
00 Generation: The New Brazilian Photography, SESC Belenzinho, São
Natures, Mezanino Gallery, São Paulo, Brazil
Anti, Cartel 011, São Paulo, Brazil
life seems to a party, Mezanino Gallery, São Paulo, Brazil
Landscapes e Skylines, Trace and Pixel, Mezanino Gallery, São Paulo, Brazil
Backyard, Mezanino Gallery, São Paulo, Brazil
Hotel Unique Magazine nº 6
Day by Day Magazine, Banco Daycoval Magazine, nº 6
Review of gabinete de curiosidades, Klassekampen, Norway Journal, by
Professor de arte Øyvind Storm Bjerke
Review of gabinete de curiosidades, Dagbladet Magasinet Magazine, by Lars
Time Out London – June edition
Review of gabinete de curiosidades, Londonist, by Tabish Khan
Generation 00: The New Brazilian Photography, SESC, São Paulo, Brazil
Natural History Museum, photoessay