He is interested in the oddities that emerge in artworks through embodied processes, specifically in relation to the influence of the technological reproduction of images from the Renaissance to the present. His current research considers how artists are developing new relationships between virtual environments and traditional technologies, and combines practical and theoretical research to augment growing scholarly interest in art as an embodied form of thought. Grounded in a long-standing fascination with specific qualities of light, memory, and the human structuring of time, Damian’s artistic practice explores the space between a singular object and its representation, between one exhibition of a work and its subsequent presentation, and between simultaneous presentations of materially approximate or identical works. Although never straying entirely from roots in painting, these preoccupations are often pursued through casting, early photographic processes, books and digital video installations.
Damian studied fine art at Chelsea College of Art (BA) and the Slade (MA), and holds a practice-led doctorate from the Ruskin. His doctoral dissertation, ‘Busy Working With Materials’: Transposing Form, Re-exposing Medardo Rosso analysed the creative conflict between the rhetoric and the reality of the early twentieth-century sculptor’s practice and offered the first comprehensive account of technological image reproduction in relation to Rosso, both in terms of how he used emerging technologies to disseminate images of his sculptures and how these technologies in turn affected his approach to sculpture. Damian has devoted considerable time to researching temporality in John Constable’s paintings, specifically in light of his generation’s obsession with nature and the early history of photography, research that was greatly aided by a period as a visiting scholar at Yale. He exhibits internationally, with recent solo shows at Museum Beelden aan Zee (NL) and Hidde van Seggelen Gallery (UK).