Daniel Aros-Aguilar

BIO
Daniel Aros-Aguilar is a queer artist born in Colombia, now based in Harlem. Daniel grew up in Florida, where his family immigrated seeking refuge. After graduating high school, Daniel transferred to BMCC in Manhattan. He then interned and became assistant to photographer Mike Ruiz. He later produced commercial and editorial work for Brianna Capozzi, Talia Chetrit, Danko Steiner, Miranda Lichtenstein, and Daniel Gordon. In 2016, Daniel left his job as a photography producer to refocus on their work. He has shown at The Greenpoint Gallery, The Cohen Archive Gallery, and The Untitled Space in New York. He is currently a resident artist at The Bronx River Arts Center.

STATEMENT

I search to highlight the beauty and stories of people being stigmatized and underrepresented. Most of the portraits that I have taken care of my close friends, a selected few people that I have come to appreciate as much as family. I prefer to shoot analog. My works are mostly conceptualized portraits or documentative photography. I believe in the equality of genders. As a person of color, I continue to fight for a fair system. However many immigrants have to live in fear of speaking up for their rights. We must continue to demand a true separation of church and state. We must stop whitewashing people that immigrate to America. There is only true beauty and strength in diversity.

Interview with Daniel Aros-Aguilar

Written by Andreana Donahue

Can you tell us a bit about your background and how you became interested in becoming an artist? What were some early influences? Growing up, I always sought creative outlets. I played in the school band and senior year had my first darkroom class. When I moved to New York, I decided music was not for me and instead began photographing fashion with my friends. I then interned for Mike Ruiz, and he became the gay father figure and role model that I needed. I learned how to photograph by watching Mike. From then on I worked as a producer at a photo agency for Talia Chetrit, Brianna Capozzi, and Danko Steiner. As well as art commissions with Daniel Gordon and Miranda Lichtenstein. Working the business amongst all these incredibly established and talented people gave me clarity as to what I should be doing as a photographer and primarily an artist. 

Where are you currently based and what initially attracted you to working in this community? Are there any aspects of this specific place that have surfaced in your work?

I have lived in upper Manhattan since 2010, after graduating high school in Florida. Most recently, I have lived in Harlem for 7 years now. As a refugee, New York seemed the most reminiscent to me of Bogota. I also knew that in NYC, I would find the people that supported me for being queer and the opportunities to learn from work experience. You find New York in a lot of my work. 

Can you tell us about your studio space? What are some of the most crucial aspects of a studio that make it workable for you? 

I share a small space at the Bronx River Arts Center. I appreciate the open floor format that allows me to congregate and share with the other artist in residency. I particularly prefer to keep my workspace organized and neat. I sometimes think of it as a lab, more than a studio. 

What is a typical day like?

Wake up and get ready. Make breakfast for my husband and me. Get on the train to go to the studio. eat my sandwich and continue working. Then go home, cook dinner, have a drink and a joint. Go to bed and repeat.

What gets you in a creative groove? What puts a damper on your groove?

Music and great friends always get me in the mood. Being prepared turns me on. I love when everyone is ready and on time. I usually stay away from energy vampires or people that being every sentence with "I" or are filled with opinions or anecdotes. I love to banter. It's nice to listen or ask questions when you're having a conversation. 

What criteria do you follow for selecting materials? Do you prefer to maintain a narrow focus or work across diverse media? How do you navigate the limitations and possibilities that result from this path?

As of now, I have remained pretty steady with the tools I use to photograph. I will say that depending on the ethos of the project, I would then choose how romantic I would like to present something. Lately, I have been looking at installation work, which's then documented as a photograph. This would allow me to grow and manipulate my message but still remain central to photography. 

Can you walk us through your overall process? How would you describe your approach to manipulating materials? What about decision-making and editing?

It depends on the inspiration, really. My main objective is to present a story, so at times it may begin with documenting an experience and then finding the common ground in these images to convey a message. Other times it's a phrase or a lyric that I hear and then sketch out a visual rendition to then be a photograph. It's about creating a dialog with the people or items that I am photographing.

Can you talk about some of the ongoing interests, imagery, and concepts that have informed your process and body of work overtime? How do you anticipate your work progressing in the future?

Being queer, anything outside of the heteronormative role interests me. Self-portraiture has become a tool that allows me to reflect on my own fears and doubt, so it allows me to process thoughts in a very analytic way. I sometimes obsess over particular items or people for periods of time. "Making lemonade out of lemons", sent me on a fascination for citrus for a while. 

I would like to get more experimental in other steps of my process moving forward. Changes in editing and post-production that somehow still revolve around photography.

Do you pursue any collaborations, projects, or careers in addition to your studio practice? If so, can you tell us more about those projects, and are there connections between your studio practice and these endeavors?

Recently, I have been collaborating more with other artists. Photographing their work for either commercial or editorial usage. It is very rewarding working with other creatives that you admire and work with a completely different medium than yours. Having a physical studio with the Bronx River Art Center has allowed me to grow by allocating the space and environment necessary to engage with other creatives. 

I always try to make appointments when I travel. Some of the most amazing and honest truths have been from friends I have met in other places outside of New York City. Much of my work ethic comes from the experience gained as a photo producer in the fashion industry.

In the future, I would love to represent and manage other photographers. I would love to see way more diversity in American newsstands.   

As a result of the pandemic, many artists have experienced limited access to their studios or loss of exhibitions, income, or other opportunities. Has your way of working (or not working) shifted significantly during this time? Are there unexpected insights or particular challenges you’ve experienced?

Thankfully, the pandemic has had the opposite effect on my process. Because many people left New York City, I was able to find studio space at an affordable rate. I also have a job bartending on the side that pays for my tools and instruments. Since there had been restrictions on gatherings, I was able to spend more time working on my art, rather than making ends meet.  

In a time that seems to be marked by uncertainty, collective anxiety, and increasing social unrest, why do you think the perspectives and contributions of artists remain meaningful? Do you feel a natural relationship exists between your work (or the role artists play more broadly) and confronting established systems—of power, cultural institutions, or otherwise?

As a young artist, I feel like everything I do must come with intention. Otherwise, it's just a luxury or privilege. I think many of us, especially women and people of color have had these dialogues already in place for many years, that are only until now being listened to. Partially because of the huge impact social media has had in the recent decade. Artists are the ones that humanize life and prevent the rest from just becoming a factor or statistic. It's an artist's job to become a megaphone that projects the truths about what is happening in our current state, as people. 

Can you share some of your recent influences? Are there specific works—from visual art, literature, film, or music—that are important to you?

I'm a sucker for a strong female lead, and I also love pop culture. Naturally, Blackpink has been on repeat for about half a year now probably. I also love the lyricism and visuals that Kali Uchis presents. As well as Lido Pimienta. Megan Thee Stallion's verses exude female strength and ownership of yourself. 

Recently I collaborated with some friends of the Muxe community in Oaxaca, Mexico. The music of Lila Downs and Patricia Alcaraz is almost spiritual to me. 

Girl Pictures by Justine Kurland, Higher by John Edmonds, and of course Ren Hang's are some of my favorite books in my collection. As well as Helmut Newton's book of Polaroids. 

Solange's work with Carlota Guerrero, and Camila Falquez's portraits are always breathtaking. 

Who are some contemporary artists you’re excited about? What are the best exhibitions you’ve seen in recent memory? 

I love seeing the work of Farah Al Qasimi. She's incredibly talented. I also loved D'Angelo William's exhibition at Higher Pictures. Deana Lawson's show at The Guggenheim. Mark McKnight and Justine Kurland's shows were outstanding as well. Definitely, Yayoi's exhibit at the New York Botanical Garden was beautiful. 

Do you have any tips or advice that someone has shared with you that you have found particularly helpful? 

Never compare yourself to anyone else. The wise person learns from the fool's mistakes. Become the person you want to be. Fake it until you make it.

What are you working on in the studio right now? What’s coming up next for you?

I have a story about my friend Muxes in Mexico and how they are fighting against marginalization. People say that Oaxaca is a haven for queer folk, but it's obvious that is not the truth. I also have a small zine that is just a series of black and white pictures of the last snowfall in Sugar Hill, Harlem. It's like a love letter to my neighborhood and a stance on global warming since winters have not been as cold in New York City in recent years. 

Anything else you would like to share?

Follow me on Instagram lol. And thank you so much for selecting my work. This is a huge honor. 

Check out Daniel’s website here.