About Daniel Haskin
Kintsugi Soul
Mixed media
2026
Daniel Haskin is an award‑winning multidisciplinary artist, published author, illustrator, and poet based in Western New York whose work investigates the liminal spaces where memory, atmosphere, and the sacred converge. Working in graphite, mixed media, and metallic leaf, Haskin constructs compositions that move with the weather of dreams—images suspended in charged air, shaped by drift, stillness, and the subtle phenomenology of light. His drawings often function as contemporary relics, inviting viewers into environments where perception thins and the unseen becomes momentarily visible.
Haskin’s visual practice is grounded in a sustained inquiry into interior landscapes and the atmospheric conditions of emotional and spiritual experience. His graphite works explore micro‑climates of shadow, mist, and reflective luminosity, while metallic leaf operates as a conceptual aperture—an intervention marking the presence of the sacred within otherwise quiet, contemplative surfaces. Birds, botanicals, and human figures recur throughout his work not as conventional subjects, but as conduits through which atmosphere becomes meaning.
As a published author and illustrator, Haskin has produced a diverse body of literary and visual work that extends his interdisciplinary approach. He is the author of seven books of poetry, and his writing has appeared widely, including numerous poems published in The Buffalo News. His literary work shares the same distilled luminosity as his drawings, forming a parallel inquiry into the mechanics of inner change and the spiritual resonance of language.
Haskin is also an electroacoustic composer whose ambient work, created under the moniker Machines of Love and War, has been featured on the BBC in the United Kingdom. His compositions explore the sonic equivalent of his visual atmospheres—slow‑moving tonal fields, drifting textures, and the quiet tension between stillness and emergence. Together, his music and visual art form a unified exploration of the unseen forces that shape human perception.
An active presence in regional and international exhibition circuits, Haskin has shown his work in galleries across the United States and Canada, contributing to contemporary conversations around drawing, sacred aesthetics, and interdisciplinary practice. As a member of the Buffalo Society of Artists, one of the oldest continually operating arts organizations in the United States, he participates in a longstanding lineage of artistic inquiry and regional excellence.
Across drawing, poetry, illustration, and sound, Daniel Haskin’s work offers atmospheric encounters with the numinous—brief openings where the world feels hushed, weightless, and touched by the sacred. His art invites viewers into the delicate weather systems of dreams, where memory becomes air and the unseen gathers in luminous stillness.
…….
Daniel Haskin was also a judge of the Allentown Art Festival in Buffalo, New York, participating in the 2018 festival year.
At heart,
Daniel’s practice is an act of tending—listening closely to the natural world, honoring its ghosts and its wonders, and shaping those impressions into images that feel like offerings. His work welcomes viewers with a sense of warmth and quiet mystery, as if stepping into a familiar room where something sacred has just passed through.
His studio is a place where these impressions settle and take form. Graphite becomes a kind of breath; metallic leaf becomes a shimmer of spirit; mixed media becomes the residue of memory made visible. Daniel works slowly, allowing the image to emerge as if it were revealing itself rather than being constructed. This patience gives his pieces their quiet gravity. They feel like objects that have been lived with, listened to, and honored—artifacts of a practice rooted in observation, reverence, and the subtle rituals of making.
When viewers encounter his work, they often describe a sense of warmth and quiet mystery, as though stepping into a familiar room where something sacred has just passed through. The drawings hold a stillness that invites contemplation, a softness that encourages closeness. They do not demand attention; they welcome it. In this way, Daniel’s art becomes a kind of sanctuary—an intimate space where nature, memory, and spirit coexist, and where the viewer is invited to linger in the gentle threshold between what is seen and what is felt.
