Danamza's artistic creation encapsulates a magnification of principles grounded in a metaphysical investigation. Statutes, which serve as central hypothesis of abstract science and questions of infinitude, are amplified in a quest for aesthetic and visual beauty. The enacted quest runs parallel with the artists' simultaneous query into self-limitations and the extremes which lie latent within his psyche. The orientation of this rather acute mind in the pursuit of graphic, spatial and interactive communications, which serve as a simulacrum for the centrifugal examination of abstract physics, is striking comprehensive. The individual creations refract in differing medium and yet an unsparing attention to technical aspects renders a cognitive unity of the active principal. Pi: infinitude.
Fixation and obsession acts as ballast for the nomadic trajectory of Danamza. In spirit similar to Fluxus, the artist adeptly reconfigures whatever geographic territory with illusionist photography, interactive counterpoints with random individuals in a continuous phase of conception. Geometrical ratios and numerical sequence allow him to master the environments, urban, rural and imagined. Atmospheric impressions from nature and the course of life are instantaneously rendered subject to meridians, abundant numbers and quasi-Surrealist treatments. A paradoxical romanticist within Danamza's individual psyche converges with consciously thematic interpretations of nature and his fascinus with the universal. He is chameleonesque and a detached observer of life. The radical in his art is a direct extenuation of the constant mutation of form and radical precept of change.