Daniel Martin Diaz, right, with his wife Paula in their recording studio. A P.O.D. platinum record featuring Diaz’s artwork is to the left.
In life there is death, but in death there is also life. This, among other revelations, is what the striking art of Tucson painter/musician Daniel Martin Diaz evokes. His work is instantly recognizable as a merging of old world European and Mexican religious art and dark surrealism, like the paintings of Hieronymus Bosch.
And his work is also recognizable as the unique image that graces an album of the band P.O.D., the large, arresting painting on the walls of downtown Tucson’s Café Poca Cosa, and the intricate Latin-laced stage frame and sconces at Club Congress, not to mention the walls of galleries from Los Angeles to London to Rome.
Starting this week, Diaz’s latest collection of paintings will exhibit at the University of Arizona’s Arizona State Museum. Even though Diaz counts well-known gallery owners, wealthy collectors and rock stars (like the Madden twins of Good Charlotte and members of AFI), he’ll still turn down an offer to trade a Marilyn Manson painting for his, while jumping at the chance to show at home between more jet set engagements.
The South Side home that Diaz shares with his wife/band mate/business partner Paula and his son Damon is decorated in the color scheme that is so prevalent in his paintings — black with rich reds and gold. It’s also unusually immaculate for a household run by an incredibly busy, multi-tasking couple, their teenage son and a small posse of demure felines. Those expecting somber, unsmiling faces at the Diaz home based on the dark themes of his work or the lush seriousness of Blind Divine (Paula and Daniel’s musical endeavor) would be surprised. The couple was ready with a large pitcher of sweet ice tea and a willingness to discuss everything from hip-hop and why loyalty is the key to success to dishing the dirt on the sometimes seedy underbelly of the art business.
Diaz’s Mexican-born parents held “traditional beliefs” which clearly made their way into their son’s every brush stroke. Sacred hearts, crosses, milagro-style disembodied limbs, fragile-looking angels and Christ himself can be found among more traditionally non-religious imagery, such as intertwined dragons, and butterflies or birds with human heads. The paintings look well-aged, while maintaining an element of more modern surrealism. Themes of mortality are interwoven and Latin scrawl abounds. Not too surprisingly, Diaz’s work is often misinterpreted as sacrilegious, something that is not of major concern to the artist.
“It doesn’t bother me if people misunderstand my art,” he said. “Everyone brings to art what they know or what they have experienced in their lives. That’s the great thing about art, is that it is personal and open to interpretation.”
The complexity of Diaz’s painting style and the way his work looks ancient and simultaneously modern would lead one to believe that the artist spent years studying technique and art history. On the contrary, Diaz is completely self-taught and is proud to be such, explaining that art school may have ruined him artistically.
“I would have been too analytical, frustrated, and confused,” he explained. “Being self-taught has allowed me to develop my own techniques based on my own abilities and interests. I prefer to make it up as I go along.”
Making it up as he goes is a technique that has worked well for Diaz. Since he began painting seriously 11 years ago, he has been picking up a steady stream of fans and clients. Diaz acknowledges that being an artist in the digital age is of great benefit and that it is how most of his clients find out about his work. It makes licensing infinitely easier, as well, and his client list runs the gamut from Juxtapose to Rolling Stone to PBS and Low Rider Magazine. But the Diazes also emphasize the importance of loyalty in business practice, especially when it comes to Billy Shire, owner of L.A.’s La Luz de Jesus and Billy Shire Fine Arts galleries.
As an early friend and promoter of Diaz’s work, Shire gets high praise from the couple for his business sense, honesty and dedication.
“(La Luz de Jesus) is one of the best galleries I’ve ever worked with,” Diaz said with a smile. “He (Shire) pays on time and pays to go on trips and advertising. He’s got ads in some of the biggest art mags in the country. He invests in his artists and as a result a lot of the artists he works with are very loyal to him.”
It’s incredibly rare, especially in Los Angeles, for a successful businessman to work without contracts to protect his or her interests. So how does Shire pull it off? An artist-friendly approach and a good, old fashioned work ethic.
Diaz explained, “He watches artists closely and then meets up with them. All the artists he works with are really super cool, really honest. Everyone’s a really hard worker. If they commit to a show, everyone comes through. And he weeds out all of the ones that he knows are going to be trouble.”
Shire maintains a steadfastly honest approach to sales, as well, which has benefited the Diazes in the long run.
“Billy’s cool because if say a star buys your art, he will give you their name and contact info,” Diaz said. “He doesn’t hide any of that shit, where at most galleries you don’t even get a name of who bought your piece unless you ask. We like to stay in contact with collectors to build relationships.”
This is how the Diazes have been able to develop friendships with some of Daniel’s more well-known buyers, such as Davey Havok (singer of AFI), Joel and Benji Madden of Good Charlotte and Jerry Finn (producer of AFI, Green Day and The Offspring, who died last month of a brain hemorrhage at 39).
The Diazes speak of their celebrity clients in a modest, matter of fact way. Their tendency to be unimpressed with fame is further illustrated by a memory that stood out in Daniel’s mind.
“I remember once a collector wanted to give me a Marilyn Manson piece for one of my paintings,” Diaz recounted, laughing. “And I said, ‘No way, man.’ They kind of got offended by it. He said ‘But it’s a Marilyn Manson piece!’ and I said, ‘I don’t care.’”
Word of mouth seems to be consistently on Diaz’s side. The opportunity to design a P.O.D. album cover came about from the vice rresident of A&R for Atlantic Records, who was a fan of Diaz’s work. Upon being saddled with a ridiculously short timeframe in which to work with, the blood, sweat and tears began. But Diaz got through it with the label VP and the band, who were both on his side. And of course, much credit should be given to Diaz’s steadfast partner Paula, who even helped with the painting. Diaz’s studio is currently adorned with the platinum record featuring his artwork. He even designed the elegant frame. It’s gorgeous.
In a town full of starving artists, Diaz has been able to make a living and a name for himself doing what he loves — something that is all too rare in these parts. He has achieved this with a combination of business savvy, endless energy and dedication, and most of all, the support of his partner and wife, Paula. A couple who shares child-rearing duties, a business, a band and continuously finds success in all of those areas is certainly doing something right.
And then, of course, there is the undeniable strength of Diaz’s work. Considering the artist’s fascination with mortality and the afterlife, his ability to make the absolute most of the here and now is to say the least, interesting and admirable.
“Eternity” from the “Anatomy of Sorrow” exhibit
Daniel Martin Diaz
Anatomy of Sorrow
Paintings and Drawings
Exhibition: Sept. 15 – Oct. 27
Arizona State Museum at the University of Arizona
Private Opening Reception and Book Signing: Friday, Sept. 19, 6:30–8 p.m.
Public Opening Reception and Book Signing: Saturday, Sept. 20, 1-4 p.m.
For more information, visit www.statemuseum.arizona.edu or
www.danielmartindiaz.com.
The Diaz’s band Blind Divine will be releasing an album soon. Stay tuned to Subbacultcha for an upcoming interview.
