I’ve moved a lot over the years. After a cold decade in Berlin, I came back to Spain and I’m currently based in Málaga. Moving the studio now takes two full trailers, so it’s not something I plan lightly; though given my track record, I can’t guarantee I’ll stay put forever.

Not usually. I’d love to say yes to everyone, but it’s simply impossible. Please don’t drop by unannounced. If you feel there’s a good reason to visit, send me a short email explaining who you are and why you’d like to come. If it fits the schedule, I’m always up for a good conversation and a coffee.

Email is the best way: mail@danielpalacios.studio. I read everything and reply when it’s relevant.

Yes (check the footer). It’s the most reliable way to follow new projects, editions, and updates. Social platforms change the rules. The newsletter actually lands in your inbox.

I use it selectively. The newsletter is the reliable channel.

Not full-time. I give lectures and short workshops at universities and institutions, usually around art, design, and how production ties both together.

Yes. Talks and presentations are welcome. Workshops are more occasional. Send the context and details and we’ll see if it makes sense.

Curiosity, mostly. I like learning, making, and understanding how things work. A Fine Arts degree. A mix of Masters specialized in Art and Technology, Public Art, and Multimedia. I even got PhD candidate status, though I haven’t written the thesis… The studio grew naturally out of that chaos.

They feed each other. Commissioned work funds research and experimentation. Self-initiated projects sharpen the tools, methods, and thinking that clients benefit from.

I prefer not to. The work moves between art and design, guided by context and use. Each project has its own reason to exist. If there’s a common thread, it’s an interest in how we perceive and inhabit space.

It’s a spectrum. Some projects lean toward design, some toward art, and most sit somewhere in between.

Movement and observation. I spend quite a bit of time outdoors, on the surfski and in the mountains. I’m fascinated by how physical laws repeat across natural and built environments, even when we don’t notice. The work starts analytically and ends up tactile and poetical. I grew up in the 80s, so I carry both worlds: the digital and the analog.

Yes, but with more control. I now balance open systems with defined outcomes.

Some works are permanently installed in science museums in London and Barcelona. Others appear in temporary exhibitions or collections, like CAAC. The newsletter is the best way to stay updated.

Possibly. Availability and context matter. Send the details and dates.

Yes. Some projects are often licensed. See the licensing info for details.

Yes, when the project aligns with the studio’s approach and production standards.

Yes. Smaller works are available through drops. Larger pieces are usually commission based.

I did in the past. Sales and commissions are handled directly through the studio now.

Yes. Check this map.

Projects that combine art, design, and production. Site-specific installations and interior design integrations, functional objects, and selected commercial collaborations and ad campaigns or events.

With a clear email: context, location, intent, constraints, timeline, and budget. That’s usually enough to evaluate viability.

Context: location, scale, use, materials, timeline, and budget. Clear constraints lead to better outcomes.

Concept, design, and production. I coordinate specialists when needed and work closely with architects or contractors on complex projects.

From weeks to months, depending on scale and complexity. A phased timeline is defined early.

Typically: Concept & Development, Prototyping, Production, Delivery. Some projects include an initial proposal phase. Each phase has its own timing and cost.

Yes. That phase turns ideas into something buildable and confirms feasibility.

Scope is defined early. Feedback is part of the process and the work will adapt to it naturally, but major changes may affect timeline and budget.

Yes. Either directly or supervising local teams, depending on scale.

It depends on scale, materials, and complexity. Custom work requires appropriate budgets.

Staged payments with different ratios for each phase. A deposit confirms the project and secures the schedule.

It’s a hybrid space for experimentation and fabrication. You could say it’s an artist’s playground taken too far, or a production company that isn’t stressed for clients. The focus is on control, quality, and hands-on making.

Both. I work independently and scale up with studio assistants when needed.

Mostly. Outsourcing is selective and strategic, when it improves results.

Wood, metal, ceramics, electronics, CNC, 3D printing, letterpress… A mix of traditional and digital processes.

Because understanding the tools is part of the work. It allows control, flexibility, and hybrid processes that wouldn’t be possible otherwise.

Short editions by default. Longer runs only when the project truly requires it.

Yes. Integration into larger projects is common.

Occasionally, if the project is genuinely interesting. Priority goes to projects aligned with the studio’s practice.

Not on a fixed basis. Opportunities are project-based. Check the Jobs page and get in touch if your skills are relevant.