Fotograf Magazine

In 2004 Denisa Kera wrote about the paintings of Daniel Pitín describing them as specific pictorial “critique and image interpretation.”1 In this she drew on his series of images devoted to Alfred Hitchcock films. In the years after she wrote the aforementioned text, Pitín went on to expand his repertoire of themes and approaches. In addition to work with the already existent image, references to specific places that he had recorded photographically during trips began to appear. From those “Hitchcock lessons” he still held on to an interest about the construction of the scenery in which the image scene takes place. Work with modularity and the temporariness of the scenery led to a greater analyticalness in his painting expression and also to his search for options that are genuinely pictorial (painting-like) for solutions to the image surface. Film, or rather film stills, practically disappeared from the artist’s work in this phase. Instead he took an interest in architecture for awhile.