In the paintings of Daniel Diaz, the proximity between the conceptual discourse and the artistic structuring acquires a unique value in interpretative terms. Without becoming descriptive or anecdotal, his work reveals a metaphysical drama in which the light and the human body are the protagonists. The image of man in Diaz’s work conjugates the mythical and the material in strategic symbols of different characters; at times the anatomical precision of a figure is contrasted by diffused images in a metaphoric game that seems to reflect the eternal conflict between one and the social masses, between the individual self and the collective identity; in other words, the symbolism of the body is assumed through expressionistic codes in which the image is deformed by the gestural strokes and articulate with light full areas that reinforce the dramatization of the element and the emotional subject.

The work of Daniel Diaz places the embodied man as a spirit in the classical labyrinth where the choices are many, yet the act of entering or exiting from this mythical space is a hopelessly individual act. In that labyrinth, man is alone with his skin and his instincts.