Multidisciplinary artist Daniel Canogar’s (b.1964) work centers on—and is often made of material from—the technology we interact with every day. The artist’s solo show, “Daniel Canogar: Loose Threads,” opened this week at Galloire, Dubai, and is on view through February 24, 2023. Using the history of textiles and fabric as a starting point, Canogar has created a body of work that highlights the parallels between these mediums and digital technology. Screens have become a near omnipresent facet of contemporary life, and Canogar employs them as a core medium in his work, not simply as a mount or framework for digital projects. In his most recent works, some screens have even come off the wall and into three-dimensional space, entering viewers’ physical space in a way not commonly associated with digital or projected works. Overall, Canogar’s oeuvre proposes a new way of understanding art and technology.

We reached out to Canogar to learn more about how his practice developed and his new show at Galloire.

Early in your career, photography was your primary medium, and today you largely engage with digital art and other forms of image-making. Can you tell us about the evolution of your practice—was this shift more pragmatic or intuitive?

In the beginning, my interest in photography had more to do with the experience of being alone in the darkroom, with the red light and the enlarger projecting an image onto the photosensitive paper, with the sound of water from the chemicals, and with the radio always playing quietly in the background. The ritual and absolute enjoyment of the experience is something that, in a way, is still part of my practice today. That early fascination with creating and seeing images appear magically on photographic paper is reflected in my recent work, which is also about light, very often in dark environments—a dialogue between light and space. When I talk about my origins with photography, I see light as a recurring theme, even in my current work with digital art.

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