Daniel Preece studied at Chelsea School of Art 1988–89, graduated from Slade School of Fine Art in 1993 and the Royal Drawing School 2006-07. His work has been exhibited internationally including The London Group at Southampton City Art Gallery; The First International Invited Exhibition of Emei Contemporary Art, China; The Lynn Painter Stainers Prize 2010, 2013 and 2015; Allen Gallery New York, in 2008; The Threadneedle Painting Prize in 2009; Five New Artists at Purdy Hicks in 2002 and the annual Flowers Gallery exhibition Small is Beautiful in 2006, 2008, 2009 and 2013. His work has also been included in the Canary Wharf Window Gallery Art Program in 2017, 2013 and 2009. He has had solo shows at One Paved Court in 2017; The Project Gallery, Arundel in 2015, Capsticks Solicitor in 2010, and at Gillions Art in London in 2008. Daniel’s painting Panorama (from Angel Court), London was bought by the Chinese Government as part of the Creative Cities Collection initiative in 2012 and was exhibited at the Barbican Centre in August of the same year. He was also awarded a Boise Scholarship to travel and make work in the USA between 1995 – 96 and his most been recent commissions have been for Bayer plc and the Topland Group.

 

Daniel’s work is held in a number of private and public collections including University College London, Unilever plc, Bayer plc, and the Canary Wharf Group. Daniel has been Artist in Residence at Level 39, Canary Wharf in 2016; Dumfries House in 2015 and Kensington Palace in 2008 to 2009. He was Artist in Residence and visiting Professor at IIFA, Modinigar, India in 2011. He was runner up in the Laing Landscape and Seascape Award in 2001 and won second prize in the Gilchrist Fisher Memorial Prize for Landscape Painting in 1997.

Spanning both rural and urban landscapes, Daniel Preece’s everyday subjects - Gasometer towers, urban rooftops, barns and off-license shop fascias lack human presence yet capture the traces of our lives. His paintings narrate moments that are often overlooked or unseen, elevating them through tight compositions and vivid, primary tones.

By confronting the viewer with a deep stillness, Daniel asks us to pause and survey the balance of structural form and interrelated plains of colour held within the richly layered paint.