Daniel Harms series „Mirrors“, evolves around the ghostly presence of a mirror and its contribution to the way
we see ourselfs. It indulges in the way the mirror becomes a personification of our deepest desires reflecting the
endless dualism of what we see, the ways we decive ourselfs and the undying notion of truth which is often 
hidden from the mirrors angles. The series taking on the spirit „The picture of Dorian Grey“ by Oscar Wild 
around this notion of the ideal view leading to a sense of disillusionment due to the gap between truth and deception.

Even if we manage to fulfill our deepest desires, we will always find the urge to come up with and attain more, bigger 
and greater wishes to satisfy nee urges. Something will always be missing, lost in the vastness of our being for us to
be able to reach absolute, pure happiness. But when it comes down to it, what is it really that has the ability to make
us happy? Can happiness ever reach a timeless state? When You have reached your goal your desires will evolve and 
you will create new goals that strive towards happiness. Your daily mishmash becomes a routine and your endless 
search becomes a tiring stretch of your quotidian existence. But what are you searching for? What has the ability to
gratify your deepest longings? After all, all we are doing is trying to satisfy the deepest doubts of our Owen ego in the
hope that the more we chemisch ist the more content we become. But that is an erroneous syllogism, a false conclusion
and simple deception! The more your ego is fed, the hungerier it gets and the more it demands. Feed it all you want,
it will never grow to be untroubled as it becomes the embodiement of an addict within you trapped in a prison of wishes
and demands. You fail by the wayside and become a slave of your own desires. We think about it, because we arrived 
at a point of absolute truth in which only cellular vibrancy exists, the lines are that wants to be awaken, everything else is 
just hypocrisy. „If we are alive, we can do anything“ - Daniel Harms

Harms newest series is composed of eight works, representing his resistance against conformity and popular opinions,
for his obstinate nature with a sense of slight defiance. He avoids returning to the conflict evolving around his past
naive accusations of being exitingly grotesque steering away from concessions of undemanding, straight forward
readability of the work. It was three years ago that the Berlin resident, Daniel Harms found his path to his painterly
style and getsure in wich he strives since. Although Harms will never dismiss the style that gave him his voice,
something is clearly evolving: the works are becoming more dynamic and thus busier in style. The methodology has
become far more relaxed yet not less sinister than his past series as the figures take on a ghostly nature standing
compfortably in the backround, their complex obscure affairs continue to obtain presence within the work. The new
pallet is filtered almost muted and subdued,as if the colours are completely absent.

In „Der Aberglaube“(The Superstition) slipperiness and perhaps a certain sense of evasiveness is brought to the table,
which contributes to the risk of slipping withholds itself in the various layers of the work. The ingenious, 
rendezvous accidental slips that flourish in surrealist contexts and manifest themselves as cliffhangers of stories are 
only hinted at cautiously. He carries on, the way he likes it. The puzzles are there, for those with the time to indulge in
a world of tragedy marked by hints and clues that lead to an insight of narrative untold. Similar to the oppression to
the dictatorship of the global capital.

Lili Hager



Der Drache - 180x240cm


Das Königswasser - 180x240cm


Das Mönster - 180x240cm



Shooting Star - 180x240


The Mountains - 180x240cm


Der Aberglaube - 180x240cm



Die Ikone - 180x240cm


Der Lustmord - 180x240cm


Wear-Your-Wounds - 80x40cm



No Hope - 110x210cm


In Sight - 110x210cm