Daniel Garcia - 23453 (2001), 179 x 290 cm

With these paintings, García plays with the traditional concept of “still life” in order to make us confront the taxonomic violence of anatomical illustrations. They have an allegoric sense as a “memento mori” or remainder of the perishable nature of human life. It is a warning that makes us aware of the tension between life, illness and death
In a literal sense, this condensed representation of human anatomy also refers to identification of bodies, since -as fingerprints- dental peculiarities constitute a reliable evidence of identity. In a metonymic way, they are also portraits and therefore related to other topic that García has been painting for years: heads.

Daniel Garcia - 213 (2003) 160 x 160 cm

The work of Daniel García also proposes a journey through time: the painting, which looks old, recalls an ominous past that can become present or in any case, sends the viewer to another possible present. The choice of images evokes objects and bodies of a different time installed in this time, as if returning from pain, the painted bodies and objects were iconographic testimonies of a parallel domestic hell. (…) The image has a corrosive character multiplying at all levels of construction and reading (…). Fabián Lebenglik

These works could be imagined as parts of a “still life” or portrait book. All these different meanings transform these pieces in moral reflections, ideological criticisms, but fundamentally a denunciation of violence. All these matters: the identity, the identification and death, allude to missing people. Obviously, refer to missing people during the dictatorial military governments in Argentina, but also to historical cases of genocide, missing people during democratic governments and to all those who remain excluded by the system.
Maria Eugenia Spinelli

Daniel Garcia - Entablada (2000) 164 x 150 cm