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Harvey Daniels
While never being a pop-artist exactly, his engagement with the banal image and its bold, bright presentation continued long into the 1970s, even though in purely formal terms the underlying disciplines of abstraction remained a determining force upon the work. And with his subsequent commitment, through the 80s and 90s, to a full abstraction of his own, something of the reverse is true - that there remains to his statement and presentation of the entirely abstract figure, something of the cheerful take-it-or-leave-it quality of his old pop-like images. There it is - a run of dots, a block of colour, a swooping, curling line as in the old days it might have been a shoe, a box, a tie. And latterly the abstract paintings have again grown looser in the handling, and more spontaneous in the gesture, and we look back to those youthful paintings without any sense of contradiction - to a blue shoe against a flurry of elegant colourful blobs and squiggles that he might have painted yesterday. The great and salutary opportunity that any Retrospective affords is at last to see the work as a whole, and as a piece. Harvey Daniels’ work is indeed all of a piece, and most impressively so.
William Packer
Harvey Daniels Retrospective
at White Gallery 2001
While never being a pop-artist exactly, his engagement with the banal image and its bold, bright presentation continued long into the 1970s, even though in purely formal terms the underlying disciplines of abstraction remained a determining force upon the work. And with his subsequent commitment, through the 80s and 90s, to a full abstraction of his own, something of the reverse is true - that there remains to his statement and presentation of the entirely abstract figure, something of the cheerful take-it-or-leave-it quality of his old pop-like images. There it is - a run of dots, a block of colour, a swooping, curling line as in the old days it might have been a shoe, a box, a tie. And latterly the abstract paintings have again grown looser in the handling, and more spontaneous in the gesture, and we look back to those youthful paintings without any sense of contradiction - to a blue shoe against a flurry of elegant colourful blobs and squiggles that he might have painted yesterday. The great and salutary opportunity that any Retrospective affords is at last to see the work as a whole, and as a piece. Harvey Daniels’ work is indeed all of a piece, and most impressively so.
William Packer
Harvey Daniels Retrospective
at White Gallery 2001
 Cicada Necklace, lithograph, h78cm x w59cm, £400 |
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 Movement, watercolour, h22cm x w30cm, £1850 |