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Charming and Slightly Surreal Images
The commercial success of the certain artistic practice is an actual splice of different aspects such as luck, networking, stable and lasting connections, uniqueness, etc. Despite the demands of the market and often superficial approaches, some things have not entirely changed so each artist has to be talented at least a bit so that her/his art can engage the observer or make some kind of visual and conceptual impact.
Naturally, the best possible results appear if all of the aspects are in harmony, and the artists employ their wit, charisma, nerve, and talent. Such is the case with Spanish photographers Daniel Rueda and Anna Devis whose elegant, neat, charming and slightly surreal images resonate a wide array of references from popular culture, art history, and most importantly architecture.
A Promising Artist
Daniel Rueda studied architecture at the Polytechnic University of Valencia (UPV) and as well as the Master in Architecture and Design (MArch). During the time he started photographing intensively and managed to establish a prolific aesthetic. Actually, while working as an assistant for photographer Mariela Apollonio Rueda started taking solo architecture shoots.
On the other hand, the internship Area arquitectura design office helped him a lot in growing as an architect, while an experience from Fran Silvestre Arquitectos enabled him to become more open to design. In the recent period, Rueda collaborated with various commercial clients from advertising agencies and brands such as Herschel Supply co., Hewlett-Packard, Olympus, Netflix, Coca-Cola, just to mention the few.
Dazzling and Humorous Narratives by Daniel Rueda and Anna Devis
In order to construct an already recognizable imagery, Rueda teamed up with Anna Devís, who is his partner in both creative and emotional sense. By conjoining their aesthetical aspirations primarily based on simple shapes and bold patterns, they have succeeded in establishing dazzling and humorous narratives which smartly suggest both the nature of human relations and the fascination with the urban environment. It seems that both artists perceive photography as a tool for expressing their theatricality in the context of using the stairs, arches and other architectural elements as props for their spontaneous performances. Finally, it can be concluded that the cheerful photos of Daniel Rueda supported by Davis celebrate this particular practice and the way humans articulate the interplay of bodies, space, shapes, and colors.