Daniel Sarazin was born on September 2, 1971 in Trois-Rivières, Quebec. He became interested in drawing at a very young age and took up painting at 15. He soon became immensely interested in colours and the numerous possibilities they offer. For him, it was a magical world that he wanted to master at any price.
Everything seemed to interest this self-taught painter. He first dealt in landscapes and showed them in an impressionistic light. Light, in fact, became the key element in his work. His grasp of it gradually improved and he let it permeate everything.
By the age of 20, he had broken with his former ways and turned towards a much more surrealistic form of expression, emphasizing certain subjects he found important. His work at that point showed no reference to time and space, which gave him total freedom to create his own images.
This surrealistic adventure made his work much more gestural, and soon thereafter totally abstract.
Daniel Sarazin continues to explore the world, its lines and its colours. Lately, he has returned to figurative painting, but from a completely different angle. This new approach is probably due to his recent dabbling in abstraction. Sarazin leaves all doors open, he observes and thus grows as an artist, but he doesn't want to be restricted to any school of thought. He completely avoids any art form that would quickly become lifeless. In this regard, he wrote:
Painting provides me the best of what life has to offer, namely moments of discovery, surprise and reflection. It has become my gateway to a world where I can create anything based on my knowledge of things, my emotions, my beliefs. I can express myself through it, confident that I'm participating in today's world.
Daniel Sarazin is first and foremost a young artist who is constantly evolving in the search for his art. He is a tireless colour and light technician. He prefers it over the traditional rules of perspective and figuration.
Each of his compositions is born out of his desire to leave as much breathing space as possible for his mental images in order to create the desired mood. They are intelligently complemented by the rich textures and bronze patina of their frames, which give each of his works a distinctive look. He has gone even further, incorporating in his recent canvases some elements in relief. Gradually, the artist is allowing his painting and his sculpture to fuse together.
But an image loses its importance as soon as it is captured on canvas, making space for the image slowly taking root in the artist’s soul.