Today we’d like to introduce you to Daniel Acero.
Daniel, we appreciate you taking the time to share your story with us today. Where does your story begin?
My journey into art has never been linear—it’s been a constant process of exploration, challenge, and reinvention.
I’ve always been drawn to creativity, but my work truly began to take shape when I started questioning how far I could push a painting beyond a flat surface. That curiosity led me to experiment with tridimensional forms—blending painting and sculpture into a single experience. Instead of treating art as something you simply look at, I became interested in creating pieces that you can feel, that shift depending on your perspective, and that exist somewhere between object and image.
Over time, I developed a visual language rooted in the fusion of cubism, abstraction, and surrealism. Much of my work explores perspective—how different viewpoints can exist simultaneously, often without a clear resolution. That idea is closely tied to my identity as an artist under the name “Politics,” where I use form, color, and fragmentation to reflect the complexity of interpretation and human experience.
A big turning point for me was committing to building cohesive series rather than isolated pieces. Projects like Dreamscape Cubism and my creature-based works allowed me to dive deeper into storytelling, texture, and material experimentation—whether through layered paint, sculptural surfaces, or unconventional elements. More recently, I’ve been expanding into collaborative work, incorporating materials that carry their own narratives, such as textiles from designers, to construct figures that are both personal and collective.
Today, my focus is on continuing to evolve that intersection between painting and sculpture—creating immersive, tactile works that challenge traditional boundaries while remaining emotionally grounded. At the same time, I’m building a broader vision around my practice, including exhibitions, collaborations, and eventually a dedicated space where art can be experienced beyond the wall.
Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
It definitely hasn’t been a smooth road—and I think that’s been a necessary part of the process.
One of the biggest challenges has been developing a style that feels truly original. When you’re working at the intersection of painting and sculpture, there isn’t a clear roadmap. A lot of my early work involved trial and error—figuring out materials, techniques, and how to make tridimensional pieces feel intentional rather than experimental. There were moments where things simply didn’t work, and I had to start over completely.
Another challenge has been balancing creativity with structure. As an artist, you want the freedom to explore, but at the same time, building a career requires consistency, discipline, and a clear direction. Learning how to present my work, build cohesive series, and position it within the art world took time and a lot of refinement.
There’s also the mental side of it—doubt, especially when pushing into new territory. When you’re trying something different, it’s not always immediately understood by others, and that can make you question whether you’re moving in the right direction. I’ve had to learn to trust the process and stay committed to my vision even when results weren’t immediate.
On a more practical level, evolving materials and techniques—especially working with sculptural surfaces, concrete, or mixed media—comes with its own set of challenges, from durability to execution. Every new approach means learning again from scratch.
But looking back, those struggles have been essential. They forced me to refine my voice, become more intentional with my work, and ultimately build something that feels authentic rather than convenient.
Can you tell our readers more about what you do and what you think sets you apart from others?
My work lives at the intersection of painting and sculpture. I create tridimensional pieces that merge elements of cubism, abstraction, and surrealism, often transforming traditional canvases into textured, sculptural surfaces. Instead of treating a painting as something purely visual, I approach it as an object—something that carries depth, movement, and physical presence.
I specialize in building layered compositions where figures, shapes, and color fields interact across different planes. In many of my works, the human form is either fragmented, abstracted, or partially removed altogether. I’m particularly interested in how emotion and narrative can still exist without relying on facial expressions—using color, structure, and composition to communicate instead. Themes like perspective, duality, and interpretation run consistently through my work, which ties closely to my identity as an artist under the name “Politics.”
What I’m most proud of is developing a body of work that feels cohesive yet constantly evolving. Series like Dreamscape Cubism and my creature-based works allowed me to push both technically and conceptually—especially in how I integrate texture, material, and storytelling into each piece. More recently, I’ve been exploring what I describe as “abstract portraiture through material identity,” incorporating elements like textiles from collaborators to physically construct the figure itself.
Alongside this, my most recent series takes a different direction—returning to a two-dimensional format with a focus on minimal compositions. These works are intentionally more restrained, using simplified forms, softer palettes, and controlled color fields to evoke emotion in a subtle way. They are designed to exist in dialogue with interior spaces, bringing a sense of atmosphere, balance, and calm while still carrying the emotional depth that defines my practice. It’s a shift that reflects my interest in how art can not only be expressive, but also seamlessly integrate into the environments people live in.
What sets my work apart is the way I treat the surface—not just as an image, but as a structure. Whether tridimensional or minimal and flat, each piece is built with intention, allowing the viewer to engage with it both visually and emotionally. Combined with my focus on perspective and layered narratives, the work invites interpretation from multiple angles—sometimes physically, sometimes conceptually.
At its core, my practice is about pushing boundaries while staying grounded in emotion—creating work that is visually compelling, but also open-ended enough for people to bring their own experiences into it.
Are there any books, apps, podcasts or blogs that help you do your best?
I actually try not to rely too heavily on apps or external platforms. For me, doing my best work comes more from creating the right environment and mindset rather than constantly consuming tools or content.
Contact Info:
- Website: https://www.artbypolitics.com
- Instagram: @artbypolitics
