Daniel Hesidence was born on 1975 in Akron, Germany, Lives in Long Island City. Daniel Hesidence used to work small, but his new paintings are large, and he handles size well. Most of them are entirely abstract, with vaporous whirlpools of color swirling over a misty ground. If I were to free associate with comparisons, I might point to the humid, rainbow-shot atmospheres of Frederic Edwin Church's South American paintings or the pearlescent glazes of Art Nouveau ceramics, though neither takes account of the odd, dense, scabby darkness that drills into the center of some of these pictures.
A few of them, however, collectively called ''Farm Paintings,'' offer clear references of their own. One, for example, depicts a horse, or rather the hind quarters of one; the front of the body seems to have evaporated. Another show a figure hovering in space, the body indistinct and translucent, the head a blur of light. Whether this being is human or extraterrestrial is hard to say.
Daniel Hesidence approaches his practice as a philosophical totality. Situating himself as the inventor of an ever-expanding universe, Hesidence’s individual pieces provide mere glimpses into a creative infinite. Composing his work in ‘volumes’, Hesidence’s paintings document a self-propelled evolution. Each canvas is distinct yet interconnected, holding its own place in his ‘cosmological’ timeline. Untitled is indicative of Hesidence’s stream of consciousness process. Emerging from the blank white canvas, impassioned smears of colour form a halo around a suggested figure. Rather than defining an image, Hesidence uses the malleable qualities of paint to portray an emotional and psychological state. Distant and dream-like, the intricacies of sentient gesture form a physical representation of the intangibility and impermanence of thought. Sensations of velocity and beautified discord are omnipresent throughout Daniel Hesidence’s work. Executed with a poetic sensitivity, his compositions convey both intimacy and turmoil. Through gesture, mark-making and an intuitive handling of his medium, his forms attempt to decode both personal and social consciousness. Hesidence approaches his work as a way to process collected information, to rationalise the instinctual visual dialogue through which we interpret our environment. Through reassembling forms, images and impressions, Hesidence transcribes this language through his own experience and dialect, offering alternative perceptions and meanings based in creative possibility.
Conclusions:
Daniel Hesidence describes his work as a process of decoding consciousness. Working from a memory bank of visual information his practice is based on an intuitive negotiation of imagination through tangible media, narrating the sluices of thought through spontaneous and unmediated painterly response. Often working on several canvases simultaneously, each image feeds into and progresses from a continuous dialogue. In Untitled, the form of a horse dissipates into a torrential abstracted field.

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