Danny Minnick grew up in Seattle, landing a successful career as a professional skateboarder in his early teenage years. However, after a serious injury ended his dream career it was painting that provided a creative alternative to skateboarding and after a breakout solo show in 2011, Minnick has rapidly risen to fame in the contemporary art world.
Once an artist friend showed him how to stretch canvases, Minnick began experimenting with painting, channelling his energy and creativity into a new medium. His hobby soon became a profession, as he was offered his first gallery exhibition shortly after.
While Minnick has moved away from skateboarding professionally, his art brings plenty of energy, passion and movement from his earlier experiences. Indeed, he cites Ray Pettitbon skateboard graphics as a major artistic influence, as well as other skateboarders turned artists such as Mark Gonzales, Neil Blender and Chad Muska.
He also acknowledges the influence of street artist RETNA, as well as musicians Bob Dylan and Jimi Hendrix. “One of my favourite things Basquiat said was that music is how we decorate time,” Minnick explains, “and when I listen to Jimi Hendrix I see his paintings.”
Just a few years on, he is now a highly collected artist. Minnick’s work features in the collections of celebrities such as basketball star LeBron James, American filmmakers Nick Cassavetes and Gus Van Sant, musicians Fred Durst and Jamie Hince, and actresses Mena Suvari and Jessica Alba.
While he may not yet be a household name in the UK, Minnick has been accepted as a key emerging artist in the US for some years now.
Danny Minnick art is a unique style of abstract expressionism, with a riot of dark colour, thick paint, layer upon layer of pigments, fragments, splinters, brush and splatter work.
His work reflects clear influences from various names in the contemporary art scene. These include De Kooning’s bold brushstrokes, Pollock’s signature drips, Keith Haring’s cartoon imagery and Basquiat’s daring use of colour.
Minnick works with large canvases, citing poor eyesight, but this large scale also gives his work an overwhelming presence and immediate visceral effect. Sometimes he shuns canvases entirely, creating exhibitions from work painted directly onto the walls and floorboards of his studio.