Painting, for me, is thinking. Painting is thinking about emotion in relation to the experience (and memories of the experience) of visual phenomena.

In many paintings effects of light and shadow play off the surface of the enclosure, constituting the visual texture of the painting. Ultimately, the tiger-man emerges through the reflection of the artist or the observer in the glass of the enclosure, which is to say: it is through the technology of the painting, this thing that divides one world from the other, that these two ways of being can be merged into one another.

Daniel Pulman's Penumbra series intricately weaves together themes of confinement, transformation, and existential ambiguity. By exploring the liminal space between light and shadow, his work challenges viewers to confront their perceptions, offering a profound meditation on the human condition.

My art will only survive if its meaning is not external to the work. Translate life through art in an attempt to understand the marginality of your own situation and use the perspective that this grants to find symbols that critique and reflect our time.

縱然柏丹的畫風帶有些許庫爾貝、塞尚、梵谷的色彩和力道，但他透過實地寫生和參考照片創作，在人體動作和溪澗山岩的表現上，相當凸顯濃厚的台灣味和炙熱的南國風情。

Even his depiction of realistic scenes gives off a dramatic tension, creating a kind of dialogue that gives ordinary everyday life a genuine sense of presence.