Being a full time creative in this landscape is an achievement that should be lauded, let alone being able to do it for over a decade. Dan Pearce has been fortunate enough to be able to do it for the last 12 years, and that is certainly no accident. Best known for super colouful and striking pieces that blend elements of street art, traditional graffiti and even sculptures; Dan is multidisciplinary in every sense of the word.
We sat down the the man to discuss his life and work, and find out how he has managed to maintain and thrive in such a difficult industry.
You’ve only been an artist full time for 12 years, when did you make the switch? And what was the catalyst?
“After leaving art college and university I went traveling and settled in my birth place Australia for several years. The internet boomed and I landed a corporate job in web design and branding, so still creative but on a much more digital level. I stayed in that industry for the next 20 years but art was always calling me back. The catalyst was really a combination of things – I never felt comfortable in a corporate environment and the higher up the ladder I rose the more uncomfortable it felt. I was getting stressed at work so resorted back to art to take my mind off it. I built up a body of work which then started to get some recognition. Then gradually galleries became interested and before I knew it I was becoming an independent artist selling my work in galleries!”
“I also had two young sons and I wanted to show them that you could follow your passion and make it work if you truly believe in yourself. There’s something about becoming a father that makes you reassess everything. I didn’t want to look back in 20 years and regret not giving art my full commitment. The timing felt right – I had enough confidence in my work and enough hunger to make it succeed. It was definitely a leap of faith and a massive gamble as I was giving up a very well paid job, but I knew if I didn’t try then, I probably never would.”
Who was your first celebrity client and how did that come to fruition?
“My first celebrity commission was for Anthony Joshua who at the time was world champ. I was so nervous doing it but I did a lot of research on him and added elements of his life into the artwork which he really respected and loved. It was hanging in his gym for many years, but now I think it has been donated to a charity he supports and reached a great price in a charity auction which makes me very happy.
“Since then I have done many celebrity commissions – from sports personalities, premiership footballers to music and film artists. To name drop a few – 50 Cent, Paul Pogba, Rag’n’Bone Man, Idris Elba. Even the one and only GRM founder, Post, has one of my Biggie artworks.
Shortlist referred to you as one of the most collectible emerging artists. What do you think it is about your work that makes it so collectible?
“I think it’s the combination of accessibility and innovation. My work speaks to people who grew up with music culture – whether that’s Hip-Hop, Britpop, House, or any genre that shaped their identity. Music is such a personal thing, and when I create pieces around Hip Hop artists or rave themed artworks, I’m tapping into people’s deepest memories and connections.
“But it’s not just about the subject matter, I’m constantly pushing boundaries with techniques like lenticular technology that make each piece an experience. When someone sees my Biggie and Tupac lenticular transition, or watches Eminem transform from young Slim Shady to the legend he is today, they’re not just looking at art; they’re reliving moments, feeling nostalgia, connecting with something that defined them. I have also been working hard on sculptures and just completed a 5ft Cassette Tape made to scale and covered in graffiti. It’s these nostalgic pieces that connect to people as they are no longer accessible other than in our memories.
“The fact that my work triggers one of three responses – making people think ‘How did he do that?’, inspiring them to touch it, or encouraging them to move around for different perspectives – creates a deeper connection than just visual appeal. Collectors want pieces that start conversations, that reveal new details every time you look at them. That’s what makes them collectible – they’re not just decorative, they’re interactive experiences tied to cultural moments that matter.”
How would you describe your art?
“My art is about connection and contrast. I’m drawn to the tensions between opposing elements – street art and luxury, tradition and innovation, chaos and order. I blend graffiti techniques with fine art approaches, incorporating everything from spray paint and resin to lenticular technology and 3D elements. Whether I’m working with Hip-Hop icons or cultural symbols, I’m always looking to create something that provokes an immediate reaction and starts conversations.”
Why do you think graffiti is yet to receive the same recognition as street art?
“I think it comes down to accessibility and context. Street art has been more successfully packaged for galleries and mainstream audiences – look at how artists like Banksy or Shepard Fairey have crossed over. Their work translates well to gallery walls and can be more easily understood by people who didn’t grow up with the culture.
“Traditional graffiti still carries associations with vandalism and illegality that some people struggle to see past, even though the skill and creativity involved is incredible. There’s also a class element to it. Street art has been embraced by the art establishment partly because it can be more easily commodified and placed in traditional art spaces.
“Graffiti has maintained its raw, underground authenticity, which is both its strength and what keeps it on the margins of mainstream recognition. It’s still very much about the culture, the community, the risk – elements that don’t translate as easily to a white-walled gallery. But honestly, some of the most innovative and technically brilliant artists I know come from the graff scene – they just haven’t had the same platforms or opportunities to showcase their work in conventional settings.”
Experimentation is a big part of who you are as an artist. What styles and mediums are you experimenting with next?
“I’m always pushing into new territory. Right now I’m working on a collection that merges nature-inspired pieces with urban aesthetics using transparent skate decks as the canvas. I’m combining vibrant resins, inks, and spray paint with 3D elements – the transparency creates incredible layering effects I’ve never been able to achieve before. I’m also expanding my work with large-scale sculptures like the ‘Kinetic Drop’ piece I recently completed for the Four Seasons Doha, which was my first time working with stainless steel at that scale.
“I also love to collaborate with other artists to really take myself out of my comfort zone. There is something special about collaborating with other artists as you both have different skill sets and usually work alone so finding the right balance and harmony for both sets of styles to come together is a skill in itself and when it works it is spectacular.”
You’ve done significant charity work, why is this so important to you?
Art has given me incredible opportunities, and I believe in using that platform responsibly. When you have a voice and visibility, you have a responsibility to help where you can.
“One project that really exemplifies this was the ‘Hope’ collaboration I did with Maxim from The Prodigy during the pandemic. We created sculptures and a short film that addressed the mental health impact on children, homelessness, and the struggles people were facing. We donated pieces to NHS Charities Together, YoungMinds, and Shelter – causes that were dealing with the frontline of the crisis.
“That project showed me how art can be more than just something beautiful to look at – it can be a vehicle for real change and support for people who need it most. I’ve also worked with charities like The Peter Jones Foundation, the Amy Winehouse Foundation, WWF, Acton Homeless and the British Heart Foundation because these causes matter to me personally.
“It’s also about accessibility – art shouldn’t just be for people who can afford to collect it. Through charity work, I can create pieces that serve a bigger purpose. These collaborations often push me creatively too, because you’re creating work with a deeper meaning beyond just visual impact. It keeps me grounded and reminds me why I create art in the first place.”
Find Dan’s artwork at : https://danpearce-art.com/
Or follow Dan’s on: https://www.instagram.com/dan_pearce_art/