Danny First: the art of reduction and expression
Danny firstThe ceramic busts are immediately recognizable for their striking minimalism and their strange emotional depth. Rather than superimposing complex details, he reduces his figures to their most essential elements: two eye holes, a nose and a simple line for a mouth. Thanks to subtle modifications of these characteristics, each piece takes a distinct personality, evoking expressions which range from desperate to comically absurd. This balance between simplicity and emotional resonance is what gives its sculptures their unique presence. Stripping the human face down, first invites the spectator to project his own interpretations and emotions on his work, creating an intimate dialogue between art and the public.
The tension of the FIRST work stems from its ability to merge the rigidity of the sculpture with a feeling of empathy for the figures it creates. Its busts, although undeniably formal in their materiality, have an almost pitiful vulnerability. Their virgin looks and their rigid forms evoke both humor and melancholy, making them feel strangely relatable. This interaction between pathos and the game is at the heart of its artistic vision. Its figures are not simple caricatures; These are psychological studies in restraint, proving that the slightest change in a line or a curve can considerably modify the perception.
Humor plays a crucial role in the work of First, serving as an entry point for a deeper commitment. While his sculptures often cause a little laugh, they simultaneously reveal something awkward, even tragic, of human existence. The more the first are limited to its visual language, the greater the emotional impact. Each face, no matter how much the blow, invites contemplation on the identity, vulnerability and absurdity of human expression. His ability to distill emotion in the most fundamental forms testifies to his mastery of visual narration, which makes his sculptures both intriguing and deeply moving.
Danny First: from functional art to public engagement
Beyond its ceramic sculptures, first has also explored functional art, especially through its series of benches made from recycled materials. Unlike its busts, which are designed for contemplation, these benches encourage direct physical commitment. Their raw and fortune quality contrasts with their fun nature, because it often incorporates an unexpected or spirit of mind in their surfaces. By placing them in public spaces, first invites spontaneous interactions, which questions the traditional boundaries between art and utility.
The use of the text on these benches adds another layer of meaning, transforming them simple places into stimulating installations. Whether through funny comments or ironic declarations, inscriptions cause curiosity and fun. This irreverence reflects the artistic philosophy of First – that which embraces imperfection, spontaneity and humor as fundamental aspects of creativity. His benches defy the conventional idea that art must be observed from a distance; Instead, they ask to be affected, used and experienced in daily life.
By incorporating his work into public circles, first promotes a more democratic form of artistic commitment. Unlike gallery spaces that may feel exclusive or intimidating, its benches are accessible to anyone occurring on them. This passage from passive observation to active participation reflects its broader interest to make art more inclusive. Whether through sculpture or functional objects, First's work constantly encourages interaction, encouraging viewers to rethink their relationship with the art that surrounds them.
Defend emerging talents through alternative art spaces
The impact of the first on the world of art extends beyond its own practice; He also cultivated vital spaces for emerging artists. What started as a personal project – a small exhibition space in its backyard of Hancock Park – has become an influential platform known as the cabin. Initially designed as a modest place to present a job he admired, he was quickly recognized as the launch of young artists. Many, like Amoako Boafo, Geneviève Gaignard and Tunji Adeniyi-Jones, were renowned international, partly due to the visibility they have acquired in the exhibitions of First.
The success of the cabin has led to the creation of the bunker, an underground gallery which allows it to display additional work, including an outdoor sculpture area humorously nicknamed “The Fifth Plinth”, a nod to the fourth base of London. This development testifies to First's growing commitment to promote artistic talents. His passion for supporting emerging voices is also carried out through the residence of the artists of the Brea Studio, which offers artists the opportunity to work in Los Angeles for a month before presenting their creations in one of his exhibition spaces. By offering both physical space and exhibition, it helps artists to settle in an often difficult industry.
The approach to FIRST's conservation is motivated by instinct rather than rigid selection criteria. He revolves to artists in a strong and unique voice, often promoting figurative work, interiors and textile -based parts. While his taste leans towards the contemporary, what matters most to him is authenticity. His commitment to present fresh and honest perspectives made essential stops of his spaces in the Los Angeles art circuit. Thanks to these initiatives, first not only widened its own artistic scope, but also played a key role in the training of the next generation of contemporary artists.
Danny First: a passion for a collector and the one who fled
FIRST's deep commitment with art extends to its role as a collector. His trip began in 1989 with the purchase of a Raymond Pettibon drawing – a modest work of ink on paper which marked the beginning of a passion for life. At the time, spending $ 400 on a work of art was significant, but rather than considering art as an investment, it has always approached the collection of emotional prosecution. Unlike many collectors who buy and sell strategically, first holds its acquisitions, establishing lasting links with the pieces it chooses.
His collection has since grown to include works by some of the most convincing contemporary artists, including the painter based in Berlin Kiriakos Tompolidis, whose textured and complex canvases have recently captured the attention of First. His philosophy is simple: when he connects with the work of an artist, he fully committed. Art, for him, does not concern prestige or financial speculation, but the joy of living with something that resonates. It is his singular indulgence, a passion that eclipses other material luxuries.
Despite his impressive collection, there are still pieces that haunt him – he regrets not acquiring when he had the opportunity. One in particular stands out: a small paint by Glenn Brown in the style of Frank Auerbach, which he hesitated to buy at Art Basel. With hindsight, he wishes to have acted on the impulse. However, his approach to collection remains relaxed. He understands that the art world is vast, with new opportunities always on the horizon. His philosophy echoes the advice he received from an old knowledge of art: “Do not buy it”. The words, intended to encourage reflected decision -making, remained with him.
While some collectors have adopted the NFTS digital border, it remains entirely entirely not interested. For him, digital art does not have the tangible presence which makes collection so rewarding. He wants to live with art, to experience it in a real space rather than on a screen. His passion for art is rooted in his physique, his ability to transform a piece and his ability to promote emotional connection. Whether as an artist, conservative or collector, First's journey reflects a deep and unshakable dedication to the power of visual expression.
