Bringing Life to a Level of Fiction with Street Photographer Daniel Huete

Self portrait by Daniel Huete in Hong Kong (

What does your photography say about you? This may not be a big concern for most of us, as we upload our most impactful shot(s of the day) to Instagram, but some artists take this question very seriously.

I recently spoke with Daniel Huete, a Spanish born photographer currently based in Bangkok and Seoul, and who is known for highly technical, multi-layered street photography. But as I learned during our interview, Daniel sees photographic style as a “constant search”, rather than something he’s arrived at.

You’re a relatively well known photographer on Instagram and in Bangkok. Why haven’t you put together an exhibition of your work yet?

I’ve probably got enough work to do several exhibitions, but the work I’m currently doing is completely different than the work I’ve done up to now. I think your first exhibition says a lot about who you are as an artist — your style and your intentions. I don’t want people to know me just because of those types of pictures.

My past work was very technical. It was all about composition and making the greatest candid shots of people. It’s very clean and visually interesting, but right now I’m taking a completely different approach.

“I think your first exhibition says a lot about who you are as an artist — your style and your intentions.”

Democracy Monument, Bangkok Thailand by Daniel Huete (

What led to your shift in approach?

I attended several photo workshops. When I started photography it was all self taught, but I thought why not try this out and see where it takes me.

The first workshop I ever took was with Indian street photographers Vineet and Rohit Vohra, and Singaporean photographer Aik Beng Chia. During that workshop in Singapore, Aik Beng Chia showed us his multimedia pieces, which inspired me to add multimedia in future work.

Following Singapore, I attended a couple of workshops in India with Vineet and Rohit. They were great.

Over the course of time, I started to look at my work and I noticed it was very, very technical. I felt like something was missing. The photos can be very good, very clean, great layers and subjects — but what’s the meaning behind them? For me it’s not just about coming up with a story. It’s about your photographs having a connection to you, the pictures have to resonate with you, with who you are.

“For me it’s not just about coming up with a story. It’s about your photographs having a connection to you, the pictures have to resonate with you, with who you are.”

Holi. Nandgaon, India. by Daniel Huete (

Where did that lead you?

After seeing that my work had become very technical I wanted to break apart from it, so I attended a documentary workshop with Chien-Chi [Chang] in Hong Kong. The workshop was intensive and great, but at the end of the workshop I felt I needed more.

He told me if I wanted to go deeper the only workshop he would recommend would be with French photographer Antoine d’Agata. I did a workshop with him in November 2017 and it made me question my photography to such an extent that I wasn’t able to shoot for almost a year.

Wait. What? You didn’t shoot for a year after the workshop?

Many of us either got inspired or broken after that workshop, especially. Throughout the workshop he requires you to get physically and mentally involved in the projects. It’s not just going outside, seeing something and taking a picture. You have to bring your life to a certain level of fiction. You have to document what you actually live.

It was a five day workshop and during that workshop you have to discover who you are, what your life is like. I don’t know how to explain it. It’s self discovery.

I remember something that Antoine said: “You don’t leave a trace behind by making good photos. You leave a trace by saying ‘I was this person at this time.’”

It’s a different way of doing things than just picking up a camera and taking pictures. Because when I showed him my pictures he was like, “You’re a good photographer, but why are you taking these photos? Why makes you go there? What are you trying to communicate?”

So, the fact that I’m seeing well doesn’t mean I connect with my work, it doesn’t say who I am as an individual, or where I’m standing politically, or mentally. It just says “look at this good picture.” That’s it.

“You have to bring your life to a certain level of fiction. You have to document what you actually live.”

But this is what most people do. What are you taking a different approach?

Photography itself right now is at a stage where people scratch the surface and they’re happy with it. Think of it this way, most people who do photography are just swimming and trying to find something on the surface of the water that’s interesting. Then suddenly one day you start to snorkel and see there are fish below the surface. And then one day you go deep diving and snorkeling is no longer enough.

But the workshop with Antoine was like taking a submarine to the bottom of the ocean. He takes you down and when he brings you back up it leaves you in a state of mind where you’re like “what’s next?” What do I do.

What’s that like? Can you give me a clearer idea of how this has changed you?

I was used to just going out there and finding images — good pictures . That was it. But with Antoine, he doesn’t want just good pictures. You shoot as you go, as you live. How far can you go within your life?

When I look back at the work I did in the past, it feels as if it’s not me. People might see my past work as my signature style, but I think to have a signature style is very difficult and it’s a constant search as an artist. Some people don’t even reach that level. It’s very hard to be truly yourself and not be a copy of a copy of a copy.

People look at photo books or watch YouTube videos to see how other people do it, and they try to copy the same images over and over. That constant search for identity and who I am as an artist is what keeps me going.

“People might see my past work as my signature style, but I think to have a signature style is very difficult and it’s a constant search as an artist.”

Chinatown, Bangkok. by Daniel Huete (

So are you shooting again now? What’s next for you?

After I thought for almost a year that I wasn’t ready… I’m going back to do my Home project in Spain, to shoot my family. I’m going back to where my mother passed away when I was a kid, to photograph that place and that town.

It’s where I spent five years of my life when I was growing up. A lot of interesting things happened there. I want to do a project where I face my deepest fears. I always try to avoid going back because it brings a lot of sad memories. Confronting that sadness or that fear will push me to have a better understanding of who I am.

That’s the reason I don’t do exhibitions with my past work. I want my first exhibition to be Home. My first photo book. The sadness and the fears that I went through; other people can relate to that.

You’ve been working with us on D Emptyspace, which is an app all about creating and sharing galleries. What intrigues you about the app?

Using D Emptyspace is a different experience. It’s putting your work together as one, not so much thinking about single images. I mean you can upload single images and make them look good. But with D Emptyspace you can put pictures together in a group.

People can learn how to sequence. They can learn how to curate their own pictures. Right now when you have an exhibition, unless you do the show by yourself, you have a curator who selects your best work and puts it up there.

D Emptyspace gallery of Holi Festival in India. Images and curation by Daniel Huete.

Are you a good curator?

It’s still a work in progress. I mean, if we gave the same project to a couple of friends, all of us would edit in a different way. I believe it’s the same with curators putting together a gallery.

I think photographers will be able to use D Emptyspace to learn how to sequence and edit your own exhibitions as well as seeing their work on a “wall” before they print them.

Do you have any closing thoughts for this interview?

“Search for your true self within your work.”

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Android version coming soon!

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This Guy Gave Up His Dream Job For Life As a Graffiti Artist

This Guy Gave Up His Dream Job For Life As a Graffiti Artist

Photo by Stuart Keegan

Up until his mid-twenties, Mohammed Ali was following a pretty standard path for a kid from an immigrant family. He’d done well in school, gone on to earn a cutting edge degree, and landed a dream job as a game designer. But his artistic streak and moral compass were making other plans.

“It was my job to make little children addicted to their screens, to take kids away from playing outside with their friends or doing their homework and turn them into screen zombies. That’s not something I wanted to do with my life.”

Ali’s priorities began to shift.

It started with graffiti when he was a rebellious teen. You know, the usual did-that-kid-really-paint-this-on-my-wall stuff. All popping letters and neon colors. But in his early 20s, Ali started thinking a little bigger.

I suppose I was wrestling with this whole identity of being raised as an immigrant, but also of Muslim faith, especially at a time when Islam was (and in some ways still is) demonized, post 9/11.”

He moved on from bubble letters, and began experimenting with Islamic script while documenting the ups and downs of Muslim faith in an intolerrant world. And while spraying a public wall with paint (and no permission slip) is illegal in the UK, Ali was connecting with communities. And the news stations, community planners, and big businesses wanted in.

“Back in the early 2000s, while I was working my gaming gig, I built a website on the side and continued with my street art. Having an online presence was why I got noticed. News channels like CNN were finding my work online and calling me at my day job. I had to tell them to call back on my lunch break! I was so lucky to ride that trend. I don’t think I could do it the same way these days. In those days, so few artists had any presence online. It was all new to them.”

Ali admits he tried his best not to become an artist. But his path to being a full time artist was so laden with purpose, he couldn’t resist. Now he spends his time making tangible difference in the world. Not with a sword, pen, or brush. But with a spraycan and mission.

“I want to try and change the condition of society and the world that we live in. I realize not everybody can do that. And not everybody should do that, because everyone would be poor!”

Since becoming a full-time artist, Ali has taken on other roles as well, as an educator, a speaker, and an advocate for his community. In 2013, he was invited to give a TEDx Talk at the Vatican and in 2016, he was awarded the MBE for services to art and community cohesion. He’s been invited to create enormous murals in cities around the world.

We spoke more with Mohammed Ali about his life, his influences, and his work through art to build stronger communities.

Explore Mohammed Ali’s Virtual Galleries.

If you want to get a sense of how Ali covers entire walls, you can now experience them virtually on D Emptyspace:

Johannesburg Mural / Birmingham UK Murals / Untitled Gallery

Want to create your own galleries? Click here to download D Emptyspace for IOS from the app store.

How is street art uplifting communities when most people consider graffiti an eye-sore?

This Cromer Street mural by Mohammed Ali is enhanced by augmented reality where you can hear the stories of local residents.

Let’s take one of my latest projects as an example. It’s a new mural in Kings Cross, London(not the train station but the neighborhood behind it). Even though this work was sanctioned by the City Council I didn’t hold back on painting the very real issues that the neighborhood inherited from the 70s and 80s.

Back in those days, there was massive drugs and prostitution activity going on. Nowadays, Kings Cross has undergone a bit of gentrification. There are all these posh cafes and nice apartments… but below the surface, the inheritance of drugs remains. While I was painting, I saw drug deals taking place in broad daylight, so problems are still very much there. But I also met young people who were full of potential and pride. The area has changed and I wanted to acknowledge that, to tell a story of its transition. If we are oblivious to such past narratives, how can we work to resolve the current issues?

So I wanted to create a piece that told the story of the people who live here. I wanted the wall to tell a story to people passing by. So that’s exactly what I did. Using augmented reality, I’ve embedded 10 interviews from locals that automatically start playing when you hover over a part of the wall with your phone. I’m literally making the wall speak.

That’s how I use street art to reflect the local area and the stories that people are truly living. So that the ideas and thoughts of people who live there are actually heard. I expressed to the council that I want these interviews to be accessible in 200 years time, so we can remember and reflect on the truth of people. Not just what the biased history books want us to remember.

How do you paint those massive murals?

D Emptyspace Gallery of street murals by Mohammed Ali

Well, first of all, you need access to equipment like a scissor lift. I tried to use a scaffold, but it’s very tricky. So if you’re doing a big mural, it’ll have to be legally sanctioned, because you need the time.

To scale the art up isn’t really that hard. It’s just a case of understanding how to break your drawings using up using a grid so that you can scale them up. Once you have a grid worked out on paper, you can transfer it to the wall. It’s a well-documented technique. Just practice and follow the method.

I’ve recently made the switch from oil-based spray paint to water-based. They are generally safer to use plus it’s great for doing workshops indoors with kids and that sort of thing.

You do a lot of live performances in collaboration with vocalists and musicians. How do you set them up?

Through life, you sometimes encounter a “Fireworks moment”. That spontaneous moment, that golden moment in time, and it goes just as suddenly as it comes.

I was invited to do a TEDX talk at the Vatican a few years back. In my 18 minutes, I spoke for about 5, and then used the rest of the time to paint. After that event, someone came up to me and told me that a row of about four or five people were crying during my talk. And I thought, how strange, I wasn’t doing anything immediately emotional.

I realized that I needed to gauge what it was that made them feel such emotion. So I started tracking and monitoring my performances to capture that magic formula. I wanted to replicate, repeat, and build upon that moment. To develop and share a strategy or method to making an emotional reaction.

I approach people after my performances and ask how they feel, and when exactly they felt that way. Then I attribute it to specific timing, like smoke coming on stage, or a narrative that was particularly personal. I realized that what I was doing was using light, sound, music, and visuals, to make a multi-sensory experience.

Live performance by Mohammed Ali in Malaysia

If you get the right timing it’s fireworks. Say we start off pitch black, then slowly, the light fades in. And then this happens. And then there’s some music fills the space. And then there’s a moment of silence.

If I can get all these in the right measures, I’ve got some something really golden in the bottle.

Being a revolutionary is very nice and all… but with three kids, you have bills to pay. Do you ever compromise your morals for a commercial gig?

No, I try to stay away from the commercial sector where I can. Some street artists get snatched up by big corporations once they start making a name for themselves. But I didn’t want that. I’d already worked for a big corporation. I don’t want to compromise my morals or dilute my message to fit the agenda of some massive company.

I do corporate commissions, but I’m pretty picky about my clients. I won’t be a part of someone’s meaningless PR stunt.

A while back Ben & Jerry’s contacted me… Alarm bells went off, and I was all like “Really? The pink bubbly ice cream chain store wants me for some street cred? No way.

But I heard them out. And in the brief, they said something that immediately struck me.

“There’s a building negative attitude towards immigrants in Britain, so we want something that makes immigrants feel welcomed.”

I was shocked. I thought at first that it had to be some PR stunt or corporate social responsibility gig, so I took a deeper look into the history of Ben & Jerry’s. I was completely wrong. Turns out the owners have a long standing history of social activism and have even been arrested for demonstrating.

Now that’s the kind of company I’ll work with.

D Emptyspace Gallery of street murals by Mohammed Ali

What do you think artists have to offer the world in terms of real, tangible change?

Look, art makes people feel something. And it makes them think.

And it’s incredible. A bunch of bricks with a bit of pigment, bit of color, can make an emotional connection between a human being and a wall. That’s quite something.

Sometimes artists need to think methodically and strategically and tangibly because otherwise, the arts forever remains this esoteric, abstract thing that society doesn’t value.

Mural in Johannesburg by Mohammed Ali

What can we offer the world as artists? As creatives? The one skill I have is to create beautiful things, to present things beautifully, so that they become something that people desire. That’s my talent, so how do I use that for something that benefits the real world? Every artist needs to ask that question.

If we want the arts to come away from the fringes of society, then we have a responsibility to make the arts tangible and accessible for people. We need to engage communities with our art.

As an artist, you need to ask more relevant questions. How can my art talk to scientists and doctors? How can my art talk to schools and educators? How can it influence school curriculum?

How can my art talk to town planners and politicians, when they’re battling to try and find answers to a broken society of segregated and divided groups in cities?

It’s men in grey suits who make all the big calls, and I say it’s time for them to seek help. We need to be taking a seat at the damn table. So we can start solving problems with creativity and intuition where logic is so obviously failing. And getting the city council to hand over walls so artists can tell the real story of a community is step one.

To get to that goal, creative people need to learn to talk.

Instead of crazy conceptual ideas, we need to break it down to an accessible level. Artists are trained to think and respond differently to problems. And if we get a say in the problem-solving process, I think the world will be a better place for it. That’s what gives me hope and purpose.

Bringing people divided by race, culture, and religion is hard. Really hard. How have you been tackling current issues?

You’d think that various minorities in the UK would stick together. But unfortunately they often self-segregate. That’s why it was so incredibly powerful when Tanmanjeet Dhesi an openly Sikh Lawmaker, stood up in parliment and publicly defended Muslim women (after Borris Johnson referred to them as “letterboxes”).

For this openly Sikh man to stand up and defend Muslim women on national television was inspiring. It was a brave act of solidarity towards the Muslim community, and I wanted to honor that.

So I did a stencil of Tanmanjeet Dhesi in a Sikh neighborhood. I want to capture these fleeting moments in time, to memorialize them in paint so they don’t get lost in the dustbins of history. I don’t think society preserves these moments enough. I mean, who is it that decides on city monuments or commemoration statues? It’s certainly not the people who live in those neighborhoods. Even the history we’re taught in school is biased.

For example, did you know that in Andalucia in Spain, Christians and Jews lived under Muslim rule for hundreds of years? It was a stable Islamic state that even put non-muslims in government. (Editors note requested by artist: The situation was nuanced. You can get the full story here). So if you thought Islam and Judaism were natural enemies that couldn’t possibly co-exist… you’d be wrong. Why aren’t we taught THAT in school?

Photo by Peter Lopeman

In a time of turmoil, where people in power enable hate crimes, I think seeing a man of color wearing a turban on a wall says something powerful.

I did a similar stencil for Greta Thunberg — she’s been an icon of environmental activism and deserves to be remembered for a good time to come in my opinion. Youth should be encouraged to speak the truth. Don’t you agree?

Explore Mohammed Ali’s Virtual Galleries.

If you want to get a sense of how Ali covers entire walls, you can now experience them virtually on D Emptyspace:

Johannesburg Mural / Birmingham UK Murals / Untitled Gallery

Want to create your own galleries? Click here to download D Emptyspace for IOS from the app store.

Download D Emptyspace for iOS:

Android version coming soon!

Follow D Emptyspace for more company updates and art-curated content!

Website | Twitter | Facebook | Instagram | Download


One Californian Curator’s Quest to Represent Diversity

One Californian Curator’s Quest to Represent Diversity

Linemen Series on D Emptyspace

Joseph Abbati is an artist and curator who’s committed to representing the diverse artists of his San Francisco base. He currently curates themed exhibitions at the State of California building for the senator in office. His exhibits bring together a diverse group of artists on subjects such as housing, nightlife, artists over 50, the Bay Area Asian diaspora, LGBTQ Pride, the Global Climate Action Summit, and Latinx culture.

But Abbati isn’t limited to the skill of curation. He creates artwork that explores controversial topics like “Artspeak”, LGBTQ fetish postings, and the striking stand-out poses that populate the feeds of Instagram influencers. While his art leans towards a bright pop aesthetic, the topics Abbati explores indicate his wry sense of humor.

So, read on to find out how he became a high-profile curator, what he wants when looking for artists to feature, and his ironic musings on an art world that takes itself just a little too seriously.

Explore Joseph Abbati’s Art Galleries.

If you want to get a sense of how Abbati curates his galleries, you can now experience them virtually on D Emptyspace:

Body + / Linemen Series / Art Speak

Want to create your own galleries? Click here to download D Emptyspace for IOS from the app store.

What were your early years as an artist like? How did you discover that you wanted to be a painter?

I consider myself more of an artist than a painter. At the present, I’ve been using paint as a medium along with digital vectors. And I use photography to produce tapestries and prints on metal. I’m more multi-disciplinary when it comes to materials.

I started painting when I was a teenager. I had an older cousin that was a painter and she saw that I was artistically inclined and began teaching me to paint. That ultimately started my path to becoming an artist.

Graphic Studies Series by Joseph Abbati

You both create and curate artworks. How did you get involved in curation (especially at such a high level) and do you prefer one activity over the other?

I enjoy both artwork and curating. It all started thanks to an atmosphere of collaboration. Someone at our local Senator’s office saw my work at an exhibition and invited me to put on a display of my art in their building. They liked the work I brought to the office and I suggested curating another exhibit for them with San Francisco Bay Area artists.

The State of California Building has about 10,000 square feet and large open walls, perfect for displaying work. It was a great way for the Senator to reach out to his constituency while filling the offices with Bay Area art. We’ve continued this partnership for over two years with two new exhibits each year.

Artwork is my personal discipline. Curation keeps me in touch with the local art scene and developing new relationships within it.

Tell us a little bit more about your curation work in the senator’s office. Do you find it challenging? How do you balance diversity? And have you ever had pushback on a piece you thought was perfect?

Body + Gallery in D Emptyspace

There is always a challenge when organizing an exhibit. When I put out a call for submissions I want to reach as many people as possible so I can gather the most diverse segments in our community.

A visitor to one of our exhibits asked me why there were no female Latin artists in the exhibit. I had put out the call mistakenly thinking I reached out to enough of the community. But sometimes a particular segment doesn’t respond. So I needed to change the way I reached out. Now I target specific groups within the community. And in October I am curating a Latinx-based exhibit.

I’ve been fortunate to work for a Senator that does not pushback or override my choices. When we had artwork that was nude or sexual in nature I grouped them together strategically in a separate room but there was never a question about whether or not we’d hang the artwork. He and his staff have been very supportive of my efforts to represent the diverse community of artists we have in the San Francisco Bay area.

Among other things, your “Artspeak” Series reveals how difficult it is to describe the visual language of art with a written one. Where did your inspiration for this series come from? And have any brave art critics attempted to describe this series?

Artspeak on D Emptyspace

“Artspeak” comes from a collection of sentences I’ve been saving while reading art reviews, press releases and artist bios. I noticed there was a language used that seemed very obtuse at times. I found these tropes very amusing and saved them, not quite knowing what I would do with them at first.

Then I thought many of these sentences could be applied to almost any artwork so I started to create paintings that served as backdrops to them. I haven’t shown the entire series yet in an exhibit. I just started this series earlier this year and now have one in a group exhibit titled “Language and Letters.”

I noticed when people viewed the painting they seemed to miss the humor I was trying express until I explained the premise. When artwork references a question asking “Is it still possible to forge social autonomy from capitalist dominance in the psycho-economic framework of semiocapitalism?,” it can be intimidating.

By moving these descriptions into another context by questioning what is being said in the art world, it shows us how difficult it is to actually have words to describe a visual language. It’s also amusing to read with an absurdist point of view.

Can you talk us through your recent Linemen series? I’m curious, do you choose famous “influencers” as your models? Or rather unknown men without social media presence?

From the Linemen Series by Joseph Abbati

Some of the influencers I have used for the “Linemen” series are famous amongst the Instagram community. Others are models or “wannabe” influencers.

Their body language is what I found interesting … the way they pose and the attitude they exude.

I started doing these loopy lined figures by drawing them on my iPhone in Sketch for a study. Once I saw what they could represent I then started working on them in Illustrator where my vector drawings could be scaled to my work. The figures are about contour. Without seeing specific facial features or clothing we are already programmed to understand what they mean.

You’re involved in the LGBTQ art scene in San Fransico. How has the artist community grown and changed over the years in your eyes?

“Abonimatrix,” photography on aluminum by Joseph Abbati

Living in San Francisco is difficult for many artists. The LGBTQ community is still very strong here but artists within that community are finding it increasingly difficult to find housing and studios.

When I first moved here it was a relatively inexpensive city to live in. That brought a lot of creative types to the city for decades because it was cheap and had a very open attitude towards different lifestyles. Now that the city is a tech dominated with a lot of money coming into it, artists are being priced out of living here. That’s been the biggest change I’ve seen in the last decade.

As a curator, I imagine you have lots of artists approaching you to display their work. Do you have any do’s and don’ts for artists trying to get curated?

When I put out a call for submissions, I ask for artists to submit up to three pieces. What I prefer to see from artists is a cohesive grouping because I like to give each artist their own section of wall space.

When I get submissions that do not relate well to one another either in technique, subject, or point of view it’s difficult for me to understand what the artist is trying to say. I like to hang pieces that are immediately recognizable for that individual artist. Those work the best for what I am curating.

How do you choose the topics for your curated galleries? Is it based on your own interest or do you have a process?

Joseph Abbati being recognized for his work at the California Capitol Senate floor in Sacramento

We theme our exhibitions to speak sometimes to the congressional work the Senator is doing, and sometimes to subjects I’m interested in exploring. Our first exhibit was on “housing.” The Senator was working on a bill to make housing more accessible because — as I mentioned above — it’s a big issue in the Bay Area… especially for artists. I put out a call for submissions to artists here to see what they were thinking about when it came to the subject.

Since then, we have also done exhibits exploring “Nite Life”, “Queerky” and “QueerEyes” for LGBTQ artists, “eARTh” for the Global Climate Action Summit, “Advanced” for artists over 50 years, “East on West” for artists of the Asian diaspora, and “We Belong- Pertenecemos” for Latinx based artists opening in October.

From the Artspeak Series by Joseph Abbati

Do you have any career plans for the future in art or curation? What’s next?

I have submitted a proposal for a new body of work exploring queer bodies for 2020. This work uses the 50,000+ photographs I collected on Tumblr for a site I curated for eight years. The site has since been taken down when they stopped allowing “adult material” on their platform. By using some of these photographs as my subject material, I can now show them online because they are Illustrations or paintings.

It seems odd to me that a painting of the same subject is acceptable but a photograph is not. They speak about the same thing but our social norms have determined how we can look at it. As for curating, I am beginning to work with other venues in 2020, but with planning three to four exhibits a year and working on my own artwork, I have enough on my plate at the moment

We love what you’ve been doing with D Emptyspace. What’s your process been like using it to curate virtually?

When I downloaded the D Emptyspace app I saw it as a way to do some curating online. I have photographed the spaces I use for my exhibits and Photoshop the artwork into them to help me plan for my curation. I see a great opportunity for D Emptyspace to allow curators to customize the wall spaces they use on the app to help with planning and to also make their exhibits mobile. I also see it as a good opportunity for myself as an artist to visualize my work hanging since I have limited wall space. It would also help me create mobile exhibits I could share for proposals and promotion.

Do you have any upcoming exhibitions where we can see your work in person?

“Multiverse”, 2019, acrylic on board and canvas, 34″ X 30″ by Joseph Abbati

I’ll be working with Art Attack SF to bring a queer based art program to their gallery for the Pride festivities in June 2020. The gallery is located in the Castro district, the “gayborhood” of San Francisco. We’ll be kicking off the month with an exhibit of queer artists and be programing different activities throughout the month to help celebrate. It’s a way to engage the LGBTQ community with the art scene. It’s open to everybody, so come down and show your support!

I just received an invitation to do a one-man exhibit in 2020. The date has not been set yet but it will run for a month some time in the spring. I’ll be posting more information on my Instagram account.

Follow Joseph Abbiati on Instagram or check his website for the latest news.

Download D Emptyspace for iOS:

Android version coming soon!

Follow D Emptyspace for more company updates and art-curated content!

Website | Twitter | Facebook | Instagram | Download