As a son of a sculptor, Dimitri Daniloff (1970) has developed a body awareness from an early age. He has since cultivated a connection to texture and materiality. Fascinated by the numerous possibilities that technique has to offer, he first experimented with 4×5 view cameras and then turned to the practice of digital art. A shift, since he then started to transform his images. He now produces new scenes of everyday life by assembling raw elements with real subjects – always finding the right balance between authenticity and fiction. His campaign for PlayStation is a great example of this tension: deconstructed bodies knocking together and questioning our boundaries.
Another turning point in this creative artist’s career was his collaboration with electronic music band Daft Punk. Producing the Virtual Girl project (2008), he integrated 3D creations into his existing pictures, thus proposing his own vision of an augmented human being.
A few years later, Dimitri Daniloff started focusing on photogrammetry – a process consisting in taking measurements in a space and build, through a software, a 3D model from several viewpoints. By integrating this technique into his practice, he inserted the virtual world into the real world. He created, in collaboration with plastic artist Tamal De Canela, L’humain illimité (The unlimited human), a project built around a virtual character still anchored into reality. Cleared from his corporeal envelope, the subject – half-man, half-God – pushes the limits of 2D image, body and thoughts. In this undefined space and time, borders no longer exist and humankind – and its extensions – finds its independence. The modern Prometheus owns as many masks as there are identities. “Give him a mask and he will tell you the truth”, Oscar Wilde said with irony. Appearances press Dimitri Daniloff to question the flaws of men – what still resists. And in this quest, the artist surrounds himself with other specialists: dancers, architects, decorators or even graphic designers. Highlighting the vulnerability of mankind thus turns into a political act, turning the stage around. More than a plastic artist, Dimitri Daniloff prevails as a sculptor of reality.