DanGonen

Dan Gonen's work is focused on printmaking,
textiles
and body- based art.
The main interest is depicting everyday life objects in relation to time and place, memory and present which in different ways tell anecdotes and visual stories. Inspired by nature, current affairs and principles of pop-art, the process of printing involves experiments with colours and materials, resulting in unexpected images.

Untitled, silk-screen print on cotton, 42x42 cm, 2022

'Prehistoric Scenery (1)', silk-screen print on paper, 62x52 cm, 2021

Untitled, silk-screen print on cotton, 205x140 cm, 2020

Test Screens, silk-screen print on canvas 100x100 cm, 2020

Untitled, digital print on paper, 110x80 cm, 2019

Friendly Faces, fashion photography by Jessie Mak, 2020

Denim Trousers, silk-screen print on cotton, 2006

Prehistoric Scenery (2), silk-screen print on cotton, 43x33 cm, 2023

Tapestry (part 1), various textiles and yarn, 180x140 cm, 2024

----------NEW WORK-----------

3 pieces of tapestries with lively colours, intricate patterns, and above all, three captivating images – large embroidered faces composed of myriad smaller faces. At first glance, these textile artworks exudes warmth and coziness, drawing viewers into their whimsical sphere. The large embroidered tapestries in 3 colours- blue, red and yellow are a kaleidoscope of expressions – from mischievous grins to wide-eyed wonder, creating images that seem to dance across the fabric. Moreover, these textile mosaics may speak to the inner child with its playful nature and imagination, inviting viewers of all ages to enjoy it. Size 180x140 cm (each), different textiles and yarn, 2024.

'Prehistoric Scenery' is a series of silk-screen printed works on paper and textile, that challenges the viewer's perception of time and human obsession with the present.
The juxtaposition of smart-phone screens displaying images of dinosaurs might seem absurd. However, upon deeper reflection, the artwork delivers a commentary on humanity's preoccupation with the now.
The integration of prehistoric creatures into modern technology forces viewers to confront the fleeting nature of human existence in the grand timeline of Earth's history.
By placing dinosaurs, symbols of a distant past, onto the screens of smartphones, the artist highlights the irony of our self-absorbed culture.
The immediacy of technology clashes with the ancient imagery, prompting viewers to question the significance of their own lives in the broader context.
Through this juxtaposition, "Prehistoric Scenery" ridicules humanity's obsession with itself and serves as a reminder that despite our technological advancements, we are merely a blip on the timeline of existence.

Dan's work is an intersection between textiles, printmaking and fine art. With a background in art history and a degree from the Rietveld Academy's fashion department in Amsterdam, Gonen brings a unique perspective to his practice.
His early focus on the language of clothing and silk-screen printing laid the foundation for his current artistic endeavours, which are characterised by intricate hand-sewn details and printed graphic work.
While initially recognised for his achievements in fashion design, including winning the Lancôme Prize for Young Fashion Designers in Paris, Gonen has since shifted his focus to textiles and printmaking.
Through his artwork, he invites viewers to contemplate the complexities of the human experience, often using textiles as a medium to explore themes of time, memory, humour and connection.
Central to Gonen's practice is the art of hand-sewing, a process that yields impressive results. In his studio, one can witness the joy with which he stitches together textile pieces, creating large-scale artworks that resemble tapestries in their richness and complexity. Through his art, he celebrates the timeless allure of the tactile, inviting us to slow down, savor the moment, and immerse ourselves in the beauty of the handmade.

Stepping into a realm where imagination is explored on large-scale textiles-
this series of hand-printed fabrics invites viewers to immerse in images of wooden chairs of varying sizes, assembled together. Each one a portal to cherished memories.
The idea behind this graphic work emerged intuitively. The wooden chairs, with their weathered surfaces and curves evoke a sense of familiarity and comfort.

‘Test Screens’ is a series of hand printed works on canvas and paper, with a playful and nostalgic gesture. At the heart of these works are old-fashioned televisions, printed in different compositions, evoking a sense of coziness reminiscent of bygone era. Each television features variations of the classic test-screen, a hallmark of the old t.v. period, or maybe a glitch during stormy weather. In the process of printing, a few colours are mixed together, creating surprising results of gradiant colours each time.

A playful textile design featuring a pattern of marching ants. Inspired by elements from children's stories or fairytales, the intention behind this series of printed textiles was to bring the pattern to life with the effect of movement. The careful arrangement of the ants created a sense of rhythm, as if they are walking across the fabric. As the design evolved, it found its way into different, more intimate forms. Like framed works, where the ants pattern is printed on a vibrant magenta background, showing just a snippet of the larger pattern. The choice of bright magenta as background colour serves to enhance the liveliness of the pattern, making the ants' black silhouettes stand out in bold contrast.

'The Language of Wearable Objects - Outside Fashion' / Publication 2019

In a world where communication takes many forms, from the spoken word to written prose, there exists a lesser-explored realm of expression: the language of clothing. "The Language of Wearable Objects Outside Fashion" is a publication that delves into this unique lexicon, presenting an essay that challenges traditional notions of clothing and its communicative potential. The publication posits that clothing is not merely a utilitarian garment but a medium through which profound ideas and emotions can be articulated. At its core, the essay in this publication argues that clothing possesses a language with its own vocabulary, grammar, and syntax. Much like spoken language can be employed in poetry and literature to convey complex thoughts and emotions, so too can clothing be used to express content far beyond its utilitarian purpose. This concept challenges the conventional view of clothing as a passive, aesthetic object, instead positioning it as an active agent of expression and communication. The publication has been presented at various book events. Curator Jet Van Overeem, known for her keen eye for innovative design and thought-provoking concepts, wrote an article about the publication on her website. In her piece, she highlights the importance of recognising clothing as a language, noting that this perspective has the power to revolutionise the way we engage with fashion and self-expression.

This printed on paper work titled:'Prehistoric Scenery(1)' was selected by the jury and presented at the curated hang of 'Woolwich Contemporary Print-Fair', London 2022

This series of printed canvases featuring flying fans or round ventilators takes a playful approach to everyday-life objects, drawing inspiration from ideas of pop art. The fans, with their blades spinning, create a sense of movement or dynamic effect within the artwork.
By placing the fans in unexpected positions, the artwork invites viewers to see these items in a new and imaginative light. For example, resembling modern mandalas with their circular shapes. Mandalas traditionally symbolise balance, unity, and the universe.

Artist and curator Ines Agostinelli created two exhibitions in Austria, one of which was a site-specific project (2013) set in an old tuberculosis sanatorium in Vorarlberg. This unique venue served as the backdrop for a group exhibition centered around the themes of breathing and diving, exploring the depths of human existence. For this exhibition a series of hand-painted bed sheets were prepared, they were suspended between the columns of the sanatorium's inner yard. Each sheet bore graffiti-like texts, resembling the sounds of human vocalisations, such as sighs and whispers that seemed to echo through the historic space. The sheets invited visitors to contemplate the fragile beauty of life and the profound act of simply breathing. A book-catalogue was later published by the Museum of Modern Art in the city of Bregenz, Austria. This catalogue captured the essence of Agostinelli's vision.

In a delightful fusion of fashion and artistry, a series of wearable jumpers emerged, each adorned with hand-made faces bearing funny and curious expressions. These garments captured the imagination, bringing smiles and laughter to those who encountered them. The jumpers, along with a collection of other clothing items, were presented at the Q-art vitrine at the UMC Hospital in Amsterdam in February 2023. What began as a series of clothing items later evolved into large-scale tapestry works. These expanded creations retained the same spirit of playful expression, but In large-scale tapestries.