Daniel Otero Torres’ multidisciplinary practice spans sculpture, installation, ceramics, painting, and drawing—the latter serving as the foundational thread weaving through his work. His distinctive technique, positioned at the intersection of drawing and sculpture, merges photorealistic rendering with monumental cut-out steel structures, creating a striking interplay between materiality and image. This process generates a deliberate dislocation, both temporal and spatial, disrupting conventional hierarchies of representation.

His compositions are rarely singular portraits; instead, they emerge as assemblages of histories, sourced from archives, contemporary media, and digital imagery. Through this layered approach, Otero Torres examines narratives of resistance and revolution, foregrounding marginalized communities whose roles in shaping history are often overlooked. His work engages with the visual lexicon of protest, celebration, and reconciliation—moments where collective action transforms into political agency. In recent years, ecological concerns have become increasingly integral to his practice, expanding his inquiry into the entanglements of capitalism, biodiversity, and indigenous epistemologies. By interrogating the relationships between nature and global politics, Otero Torres challenges viewers to reconsider the extractivist logic that governs contemporary societies.