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.

Yes and no. If you feel there’s a good reason to visit, send me a short email explaining who you are and what you’d like to discuss. If it fits the schedule, I’m always up for a good conversation and a coffee. But please don’t drop by unannounced.

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

Yes. 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.

Not full-time. I give lectures and short workshops at universities and institutions, usually around art, design, and how production ties both together. If you’d like to invite me, send the context and details and we’ll see if it makes sense.

Curiosity, mostly. A Fine Arts degree, a mix of Masters 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.

I develop installations, objects, and spatial interventions that make perceptible the systems that structure how we experience the world. Space, time, material, presence. Things that are already happening whether or not anyone is paying attention. The format changes depending on context. The logic stays the same.

The same starting point: understanding what a space or situation actually needs before deciding what form the work should take. An installation for a science museum and a bespoke piece for a brand headquarters start from the same question. The audience and the budget differ. The process does not.

It depends on the piece. Some lean toward design, some toward art, most sit somewhere in between. The distinction matters less than whether the work does what it needs to do in its context.

Observation, mostly. I spend time outdoors, on the surfski and in the mountains. I like to explore new places too. I’m drawn to how physical systems repeat across natural and built environments, in ways we rarely 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.

Projects that sit at the intersection of concept, design, and production. The format is less important than whether there is a genuine problem to solve and room to solve it properly. A full breakdown of collaboration formats is on the Working with me page.

Yes, and it is increasingly where the studio’s work feels most at home. Pieces designed for living and working spaces, where they will be experienced daily, are a direct extension of what the studio has always explored. I work closely with designers and architects from early concept through to installation, as part of their team or in parallel with it.

Yes, when the project fits. The condition is not the client type but whether the piece can stand on its own terms. Projects like Waves have been adapted for Verizon, Adidas, and Nissan. In each case the work remained coherent beyond the campaign context.

It depends on scale, materials, complexity, and deadline. Custom work requires appropriate budgets. It could go from 25k to above six figures.

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

With a clear email: what you are trying to do, where the work will live, any relevant constraints, a rough timeline, and a budget range. That is usually enough.

Yes. Smaller works, limited editions, and objects derived from studio projects are available directly through the studio, without intermediaries.

Periodically I release limited editions tied to ongoing projects or new lines of investigation. Subscribers to the newsletter get early access. There is no fixed calendar, which is the point: editions appear when the work justifies it, not to fill a content schedule.

Entry-level editions typically range from 50 to 250 euros. Smaller one-off pieces start from 2,500 euros. Large installations and spatial interventions are a different ballgame entirely and can reach six figures depending on scale and complexity. If you are somewhere in between, just ask.

Mostly. The studio has the infrastructure to take projects from concept through fabrication without fragmenting the process. Outsourcing happens selectively, when a specialist genuinely improves the result rather than just handling overflow.

Because understanding how something is made changes what you decide it should be. The workshop exists to keep design and production in the same conversation, not in separate handoffs.

Both. I work independently and bring in specialized assistants when a project scales into full production. You always talk to me and know who is responsible for your project.

If the work is purely production without authorship, that is a request for PACA, the dedicated production branch of the studio. If you have a project that requires genuine technical ambition and a partner who understands the intent behind it, that is where that conversation starts.