Morphogenesis ← Liquid Fragmentation → Architecture of the Scar
MORPHOGENESIS
ARTISTIC INQUIRY
Where does form begin?
Force. Transformation. Perception.
1998–2013 · PAINTING · GLASS · PRINTMAKING
FORM BEFORE LANGUAGE
Developed by Daniel Romero Nieto | DARONI, MORPHOGENESIS investigates how form emerges through force, material behaviour and time.
“Uncertainty is essential to my process. I am not interested in knowing beforehand where the work will arrive; I am interested in discovering where it has arrived.”
— Daniel Romero Nieto | DARONI
SELECTED WORKS
The project developed through painting, glass and printmaking. Each material changed the question and opened another way of seeing form.
PAINTING — Fields of Force
The paintings developed as force fields, where layers, gesture, density, gravity and colour interacted without a fixed scale. Form took shape through the tensions, accumulations and movements within the surface.
GLASS — Transformation Under Heat
In Murano, glass was worked while heat, gravity, viscosity and copper continuously altered its form. The process could be guided, but the final configuration could not be fully predetermined.
PRINTMAKING — Translation and Trace
In Trieste, honey and incision moved the question from volume to surface, where duration, ink and pressure transformed the process into a trace on paper.
WHAT REMAINS UNRESOLVED
One work did not lead to the next by repeating its image. What continued was something the previous work had not resolved.
MATERIAL CONDITION
In Murano, glass changed through heat, gravity, viscosity and copper. The process could be guided, but not fully predicted.
UNRESOLVED QUESTION
The Observer was finished, but something of the experience remained open after leaving the furnace and the workshop
TRANSLATION
In Trieste, that unfinished question entered another process. Honey and incision replaced molten glass; what had been experienced in volume was worked again on a surface.
RETURN
Printing revealed forms that had not been planned beforehand. On paper, the process could be looked at again from a different distance.
Form begins in what a previous form leaves unresolved.
A finished work can still leave something open. Under different conditions, that remainder may become the beginning of another form.
ARCHIVE
2015 — PUBLICATION AND EXHIBITION
The works were brought together through exhibition and publication, allowing relationships across painting, glass and printmaking to be seen side by side.
2018 — ANALOGÍAS
Parts of the earlier multiscale model were redrawn as diagrams. They remained speculative tools for thinking rather than scientific descriptions of perception.
2025–2026 — RETURN
The archive was opened again. Earlier works, photographs, texts and diagrams were reconsidered alongside questions that had emerged much later.
The works stayed the same, but returning to them years later made different questions visible.
CRITICAL RETURNS
These readings approach MORPHOGENESIS from different positions.
María Campitelli
Curator, Gruppo 78 Trieste
Transformation
“The foundational and vital concept of transformation.”
Campitelli follows transformation across inside and outside, micro and macro, matter and form.
Edgar Vite Tiscareño
Philosopher, UNAM
Scientific Thought and Poetic Language
“A poetry of scientific thought.”
Vite reads scientific thought and poetic language as part of the same experimental process, shaped by tools, observation and adaptation.
Jilli Mōniz
Curator & Critic, 2025
Wynter, Fanon and Other Ways of Knowing
“I believe that Daniel Romero Nieto’s morphogenesis is the new science that Wynter demands.”
Mōniz reads MORPHOGENESIS through questions of who defines knowledge, technology and the human.
The project begins with form. The inquiry continues through relation.