About

*1986 in Paris (FR) lives and works in Berlin.

Daniela Macé-Rossiter is a french-venezuelan female artist who grew up in an art, music and dance lovers family, on the Reunion Island in the Indian Ocean and in the region of Paris (FR). She has been living in Berlin (GER) for the past 14 years. She obtained the Bachelor of Art at the Ecole Nationale Supérieure d'Art de Paris-Cergy (FR) in June 2008 and the Master Diploma at the Kunsthochschule Berlin-Weißensee (GER) in July 2012.

Her work has been shown in international exhibitions, including at the Pierre Cardin Museum (Saint-Ouen, FR), at Spoiler for the 10th Berlin Art Week (Berlin, GER), at Arnaud Deschin Galerie (Paris, FR), at Alicja Kwade Studio (Berlin, GER), at the Théâtre de la Michodière (Paris, FR), at SWDZ (Vienna, AUT), at DNA Gallery (Berlin, GER), at Brio Box (Paris, FR), at the Kunsthalle am Hamburger Platz (Berlin, GER), at the Shoreditch Underground (London, UK), at So Stockholm (Stockholm, SWE), at XL Combines (Milano, IT), at the Fernsehturm Alexanderplatz (Berlin, GER), at the Kosmetiksalon Babette (Berlin, GER), at Galerie Spokojna for the VI Warsaw Festival of Art Photography (Warsaw, POL), at Galeria 13 (Mexico city, MEX).


Last Exhibitions & Events :

HotMess III, Kühlhaus, Berlin (GER), 2022
Curatorial Part de Deux, Gewerbehof Königstadt, Berlin (GER), 2022
À l’âge de Pierre, Musée Pierre Cardin, Saint-Ouen (FR), 2021
Presentation of Point de Vue, Kindl Museum - Center for Contemporary Art, Berlin (GER), 2021
Future Past Perfect, Spoiler, Berlin (GER), 2021
HotMess II, Napoleon Komplex, Berlin (GER), 2021
Plans sur la Comète, Spoiler, Berlin (GER), 2020
Rosasite, Galerie asterisk*, online, 2020

Interview of the Office for Visual Arts of the French Institute, 2020

Transcending the photographic process, my work takes place in what could be called metaphotography. It articulates around photography through a process of mise en abyme and stratification of the medium image, exploring its corporality through different mediums. The lightness and volatility of the image, as opposed to the inherent gravity of the material, reflect the dynamic of antagonism that embodies my work. Fabric and embroidery have become essential components of my plastic research, allowing me to work the images on different levels of materialization.

Moving from one medium to another, as one would move from one physical state of matter to another, is a way of exploding the image in a moment of transformation, as if it were also a biological matter. I like to enter an image by stretching it into a range of possibilities, breaking it down into different moments or shapes, losing its origin to embrace others. This fluidity is inspired by the perpetual movement of the world, where what Romain Rolland calls “oceanic feeling” is currently more present than ever, this emotion which annihilates temporality and space, and which immerses us in a great whole.