“In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation.”

– Guy Debord

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It usually starts with an idea. In this case, the Film Studies series focuses on the relationship between cinema and painting. But, going against the grain of art history, which until now has mostly asked what cinema owes to painting, Daniel draws on his passion for the world's cinephilias as the primary intention for each painting. Here, the artistic work consists of reinterpreting the extra-graphic dimensions of the cinematic image - made up of movement, sound, narration and dialogue - and retranscribing them through the painter's medium - made up of colors, textures, rhythms and letters. The thematic unity of this approach allows the use of all sorts of techniques.

The works in the Film Studies #3 series are designed to evoke mostly recent cinematographies, exploring other audiovisual media - especially video and animation.