exhibition 23-28/02/2026
opening 23/02/2026 18:00 performance 19:00
finissage 28/02/2026 18:00 artist talk 19:00
lagos Ι BERLIN pestalozzistr. 34 10627 berlin
exhibition 23-28/02/2026
opening 23/02/2026 18:00
performance 19:00
finissage 28/02/2026 18:00
artist talk 19:00
lagos Ι BERLIN
pestalozzistr. 34 10627 berlin
After a long period away from painting, Daniel Pacheco returns to artistic practice with a body of work that reinterprets and transforms central elements of his earlier production.
Each work begins with an initial charcoal drawing that establishes a structural, bodily ground. From this framework, biomorphic forms emerge -suggesting bodies and skins, charged with sensuality and fragility without settling into stable identities. These forms draw near, overlap, fragment, and recombine, held in tension, while the drawing remains as a trace of the gesture and the starting point of a process that gradually moves beyond its initial control.
As the work advances, layers of color and latex cover the surface and alter the image. Latex functions both as mask and as skin, producing a new autonomous surface that asserts what is visible over what is concealed. At this stage, the underlying image becomes no longer fully accessible – even to the artist himself, who relinquishes total control over its final configuration. This new skin, however, retains the capacity to be removed at a later moment.
A central aspect of the work lies in the deliberate displacement of a fundamental decision. By presenting the paintings in their veiled state and transferring the possibility of unveiling to the person who acquires the work, the artist refuses to determine a final instance of the image. This transfer is neither symbolic nor decorative; it entails an irreversible decision that alters the condition of the work. The painting remains suspended between two real possibilities until its unveiling is chosen.
In this context, time becomes a primary material. Waiting, latency, and postponement are part of the experience of the work as much as color or composition.
Veiled Time proposes images that inhabit the threshold between concealment and exposure. The veiled state is not a lack nor a preliminary stage, but another possible state of painting. The image does not impose itself; it waits – and it is within that space of reflection that the work unfolds its meaning.