A conversation about his artistic inspirations and explorations
“The epistemological challenges of the shift from Gutenberg’s printing press to the ever-expanding liquid-like libraries that hold knowledge are profound; they are ones that we are only beginning to understand. Canogar’s data works are an attempt to capture and cognitively process the implications of these dramatic changes through examining the position occupied by the individual in a technologically interconnected age.”
That’s the opening paragraph of Daniel Canogar’s artist statement; one that already gives us significant insight into the ideas and interests that feed his artistic practice. Based in both Madrid and Los Angeles, Canogar’s production ranges from his early experiments infusing life into discarded objects through light projections, to his current algorithmic animations fed by various data sources. His practice is a personal and artistic tale of the technological advances that have shaped our world over the last 40 years.
Few artists seem as keenly in touch with our present reality as Canogar. Since the 1980s, he has been exploring themes like information overload, the loss of memory, obsolescence (through old computers and DVDs as the archaeology of our civilization), technology, climate change, and sustainability. His works have been showcased at renowned international institutions, including the Los Angeles County Museum of Art (LACMA), the Prado Museum in Madrid, and the Phillips Collection in Washington, D.C.
Canogar’s journey is also one of collaboration with scientists, architects, and other professionals from various fields. His works have been featured in iconic locations such as Nike’s World Headquarters in Beaverton, Oregon, where he created “Pulsation,” a digital portrait of Serena Williams’ digital footprint; or the façade of the Ogden Center for Fundamental Physics at Durham University where he projected “Universal Loom”—a collaboration with lead scientist Carlos Frenk. His artwork seamlessly blends science, technology, and innovation.
The Getty Museum PST Art (previously referred to as Pacific Standard Time) initiative is a large-scale, interdisciplinary collaboration between museums and institutions held across the region every five years with a different theme. It is a landmark Southern California arts event that most recently reoccurred in September of this year with over 800 artists and more than 70 exhibitions focused on this year’s theme: “Art and Science Collide.”Exploring the intersections of art and science, both past and present, with project topics ranging from climate change and environmental justice to the future of artificial intelligence and alternative medicine, the exhibitions throughout our region are organized around spotlight-provoking lenses to explore our complex world. Daniel Canogar’s exhibition at SCAPE (opening December 7, 2024, and on view through February 7, 2025) coincides with the Getty initiative.
We asked Jeannie Denholm of SCAPE Gallery to chat with Daniel Canogar in an engaging conversation that addresses different aspects of his technologically-driven works. He spoke about the origins of his textile-inspired series, “Pixelweaver,” and the theory behind his sculptural, curved screens. He explained how his artworks, constantly shaped by live data, exist as living, sentient beings.
JD: What sparked your interest in using technology as a primary source of inspiration and exploration?
DC: I think it’s important for artists to react to their times, using art to better understand the world they live in. In my case, beyond using technology as a tool, I’m deeply interested in how technological advancements shape our society. This impact is a central theme in my work. I believe technology opens endless aesthetic possibilities to explore. My work pushes the boundaries of art by embracing technology and finding fresh, visual paths. Digital art also raises fascinating questions about authorship—is it the artist, the code, or the data that shapes the final piece? I’m fascinated by the changing role of artists in a post-human world and the challenges posed by technology.
JD: Currently on view at SCAPE Gallery is your piece titled “Billow,” which has screens that seem as malleable as rubber. How different these pieces are from the rigid luminous squares and rectangles we are used to manipulating daily. Can you tell us more about what drew you to experimenting with this medium?
DC: An important engineering milestone for my studio was the development of a flexible LED screen, expanding the dynamic range of how my pieces integrate into their installation sites. I am interested in the screen not only as a surface but also as a sculptural element that can be manipulated and turned into an artwork. For example, my series “Billow” consists of sculptural LED screens displaying abstract animations created from real-time data of the most popular searches on Google. Another key element in the works is the curved, architectural intersections of the sculptures. The undulating silhouettes of technological streams evoke the natural world of rivers, hills, and valleys. I create sculptures of the immaterial electronic realm to better understand the constant ebb and flow of our digital age.
JD: You often work with algorithms and live data. What interests you about this constant flow of information?
DC: Lately, I’ve focused on generative art that responds to real-time data, whether it’s financial markets, Google searches, or climate change stats. With my team of programmers, we create pieces that reflect the underlying rhythms of information. Since the printing press, humans have struggled with information overload, but today’s flood of data from cloud technologies is overwhelming. It’s crucial that we find ways to process it, or we risk becoming memoryless. My work seeks to engage with this reality, offering a way to untangle it and understand it better.
JD: Recently, we’ve seen a boom in artificial intelligence, with people seeing it both as a threat and an opportunity. Do you think using AI in art helps us understand it? What’s your take?
DC: AI in art is sparking a lot of attention and debate. I think we’re still in an early phase with these tools, and there’s a lot of misunderstanding about them. Poorly integrated technology can have negative consequences, and we’re still figuring out how to approach AI. As an artist, I think now is the time for artists, philosophers, and humanists to explore these tools. For me, reflecting on our algorithmic world, social media, and communication—or lack thereof—is a way to stay grounded in this rapidly changing landscape. The only way arts and humanities can face the mystery and fear surrounding AI is to engage with the technology directly. This hands-on approach is essential for forming fresh, humanist perspectives on AI, in contrast to the corporate uses we see today.
JD: How do you go about developing such complex, tech-based artworks?
DC: Over the years, my studio has grown into a diverse team that includes engineers, programmers, artists, and media specialists. Each person plays an important role in shaping the tech aspects of my work. The engineers and programmers, for instance, help develop the algorithms and data systems that bring my generative artworks to life. We’re constantly bouncing ideas off each other, and this collaboration is key. It’s through this mix of creative and technical expertise that we’re able to push the limits of what we can create.
JD: You have become particularly interested in textiles in recent times, exploring it through a digital lens in your series “Pixelweaver.” Can you tell us about the origins and development of this series?
DC: I have always been interested in textiles, but when I realized that there was a connection between textiles and digital technologies, I immediately knew there was potential for a series on this theme. I discovered that the first Jacquard loom, created in the early 19th century, is considered by many historians as the first computer because it used punch cards to link patterns into the loom. This historical connection has brought us to the present day, where screens have replaced fabrics as spaces of representation, allowing us to weave both personal and collective concerns. The relationship between digital technology and the history of fabrics was the starting point that inspired me to create the series. Some fascinating pieces have spun from this series, and while I don’t see an end in sight just yet, my programmers keep trying to convince me that it’s close! Some works from the series, like “Chyron,” weave real-time news tickers from major networks into a frayed fabric that reflects the chaos of our current information ecosystem. “Abacus” draws on financial data, using it to weave a constantly shifting fabric. Most recently, we have developed the “Universal Loom” series, which focuses on the aesthetic qualities of digital textiles, reinterpreting traditional framed lace and heirloom fabrics.
JD: Many of your works have been exhibited in public spaces. What draws you to creating art for public environments?
DC: Public art projects are a central part of my practice. Large-scale works like “Dynamo” at Expo Dubai 2020 or “Tendril” at Tampa Airport have pushed me as an artist, presenting challenges and opportunities for growth on multiple levels—technical, administrative, and creative. These projects have forced me to think bigger, both in terms of the scale of the work and the logistics involved in bringing it to life. Public art not only offers larger spaces and bigger budgets, but it also demands a higher level of organization and discipline while giving me the chance to reach a much wider audience. There’s something deeply satisfying about creating pieces that become part of a public environment, interacting with people in their everyday lives. I’m particularly drawn to this aspect because I enjoy the opportunity to engage with diverse audiences and contribute to shared spaces. I believe art is a tool for improving society, and my work often highlights critical issues that are changing so rapidly it feels urgent to address them.
JD: Your work is closely connected to the world around us, and you appear to be continually seeking out the innovative changes that shape our reality. How do you see your role as an artist in this evolving landscape, and what is the primary motivation behind your creative process?
DC: Art is a tool that allows us to process and psychically digest our reality. Artists have always needed to respond to their times, but I use my art to process the vast amount of information that’s constantly been thrown at me and try to make sense of it. I want to dive into this constant flow of data that we process daily and create hypnotic generative animations as a result. I’m trying to discover the inner calmness of the eye of the storm, finding a sense of meaning and purpose in the tumultuous times we are living through. Daniel Canogar will be exhibiting his works at Southern California Art Projects + Exhibitions (SCAPE) in Corona del Mar from December 7, 2024 – February 8, 2025.
