Nell Daniel is a trailblazing artist, designer, educator, and activist whose work bridges creativity, learning, and social change. Her journey is one of transformation, shaped by a deep commitment to equity, truth-telling, and the power of art to inspire progress.
Growing up in the U.S. South during the 1970s, Nell was profoundly influenced by the stark contrasts of beauty and injustice she witnessed around her. This early awareness laid the foundation for a career dedicated to fostering inclusion and challenging conventional narratives. As a practicing artist who has exhibited internationally, and as a leader in educational and arts organizations, Nell has continually used her creative voice to amplify the stories that often go unheard.
Nell’s work is rooted in the belief that art is more than a medium for expression—it is a catalyst for understanding, connection, and social equity. Her passion for design, storytelling, and activism converges in everything she does, making her an inspiring figure who not only creates beauty but also uses it to challenge, heal, and transform the world around her.
In this chat, Nell reveals more…
What journey did you go on which led you to founding your own brand…
In many ways, Thalassophilia Chic is the convergence of my lifetime of different passions and work: as an artist, designer, educator, Mom and activist. I am fascinated by intersections between creativity, learning, and social change.
Everything I do is grounded in the creative process. I have been a practicing artist and designer for as long as I can remember, and I have exhibited my work around the US and internationally. At the same time, having grown up in the US South in the 1970’s, I’ve always been very aware of racial injustices, and my desire to work towards greater equity is a part of everything I do. Over the years, my visual art practice has given me more confidence in my creative voice to express these dynamics and connect with other artists and scholars who were also committed to truth-telling, healing and equity. Alongside my art and design work, another part of my ‘art’ has been my work as an educator and leader of arts and educational organisations (museums, arts colleges, and community-based non-school learning programs) to work towards giving people of all diverse economic and cultural backgrounds access to quality arts programs.
What inspired you to start questioning the hidden narratives within luxurious patterns?
I spent my first ten years living on an old plantation in Virginia in close proximity to wealth and people with political power. I was surrounded by objects and spaces that were so historic, luxurious, and valuable to others that tour buses would visit regularly. During this time, as a small child, I became intuitively aware of hidden narratives in objects by observing how much importance adults placed on the fancy furniture, textiles, wallpaper and architecture all around me. Everything in the house communicated loud – but nonverbal – information that everyone could feel and understand: that white adults derived importance from their ownership of objects, their knowledge of objects and sophisticated taste. I also noticed how people of colour were not a part of that conversation, and their homes communicated very different messages.
After my parents divorced when I was 10, I moved into a very different economic situation in Washington, DC. At 13, I got my first job and I’ve supported myself ever since. I quickly learned that there was a huge complex world beyond the plantation where I began.
This is also when I began to see that I have a love/hate relationship with art and design. On the one hand, I am the greatest possible advocate for the creative process which is at the core of all the magic and positivity in my life. On the other hand, this was the beginning of my journey learning how the ownership of objects and the knowledge of objects has sometimes been used to divide people at different points in our history.
I love art, design and the creative process but I am saddened by how humans have used it in unkind ways. My art practice, my work as a teacher, organisational leader and my actions in daily life seek to break down those barriers and patterns.
Throughout my training as an artist/designer, scholar of cultural theory, and my lifelong studio practice, ideas about hidden narratives constantly resurface in new ways. As a Mom and teacher of Art/Design studio and History, I am fascinated to observe how young people learn about culture and form their identities in connection to the arts and media. As a teacher of Art &
Design Histories, I enjoy inviting young people into these questions, and learn a tremendous amount from them.
What I have learned is that we absorb and internalise narratives from objects and media around us, and this shapes our sense of identity, possibility, and agency in our lives. Knowing this, with my own art and design work, I want to make objects that encourage people to look closer, think critically, and be more aware – I want to make space for each of our deep, complex, multilayered experiences while being inspired by beauty at the same time. Ultimately, I believe if we can strengthen our relationship with the creator inside each of us, it can be infinitely empowering for us as individuals and healing for us as a society.
Your work suggests that restorative justice requires breaking patterns. Can you elaborate on how art contributes to this process?
I’ve learned the most about restorative justice as an educator. I know that restorative justice begins with truth-telling, and allowing space for everyone to share their truths without judgment. Each of us in different ways has harmed and been harmed, and restorative justice offers a process healing.
Some of the greatest advice I received as an artist was from the poet and artist Claudia Rankine. It was the summer of 2020, the time of George Floyd, Black Lives Matter protests and racial reckoning in the United States. I had the opportunity to speak directly with her about my artwork, and I asked what she felt was the role of white artists in the movement. She responded by saying: “Turn the camera around. Put the lens on your own white lived experience. Expose toxic whiteness and make it visible. Change the narrative that hides toxic whiteness and perpetuates racial violence.”
I want to be part of a conversation with other white artists about how to expose the toxic aspects of whiteness, and expand that conversation . By doing this in my own art I want to invite others into the conversation.
To me, restorative justice is pattern breaking. My artwork patterns look familiar at first, but on closer look, viewers can see that they are not traditional or predictable. Unlikely, surprising images live inside the pattern shapes, and because of the patterns’ large, disorienting scale and placement in different culturally scripted spaces, they disrupt our assumptions. I do this because I want people to then take a closer look at all the patterns (visual and behavioural) in their lives. The disruption of traditional visual and behavioural patterns makes space for new ones.
How do you hope viewers will respond to the idea of looking “deep below the surface” in your Work?
‘Looking below the surface’ has always been a theme in my work, but then a few years ago I was walking in shallow water at the ocean and became captivated watching pieces of seaweed floating in the shallow waves. In particular, I was stunned by the seductive, suggestive nature of kelp which looked like banners dancing with the currents.
The more I photographed it, the more evocative and metaphorical it became for me, especially when I discovered that seaweed is a healing, cleansing and nourishing substance. Perhaps my journey below the surface might inspire a curiosity about self awareness, consciousness, how we connect with each other and the environment.
I always want viewers to bring themselves to my artwork by making their own connections and finding their own meaning. My work is essentially patterns of images inside patterns. Someone might notice a colour, a shape, or an image of an x-ray, a map, or handwriting. I have intentionally left visual and conceptual space in between these elements so that audiences can make their own connections. I often hear from audiences that my patterns, their textures or the juxtaposed imagery evokes viewers’ personal memory, a relationship, or a contemporary issue such as environmental sustainability. I am thrilled by this response because it means that my work is a collaboration with others.
Regardless, I hope they will be inspired to look deeper below the surface of patterns and topics they care about. I think we are all longing for a deeper connection – to see and be seen in a deeper, less superficial ways.
I chose the title Thalassophilia Chic because Thalassophilia means ‘love of deep water.’ For many years, I’ve sought to create work about my own search below surfaces, but when I noticed I’ve been captivated by the metaphor of seaweed and water… (Thalassophilia = love of deep water) to embrace the metaphor of seaweed, which is a seductively decorative healing, cleansing, and nourishing substance. Perhaps my journey below the surface might inspire a curiosity about self awareness, consciousness, how we connect with each other and the environment.
How do you envision your work contributing to conversations about restorative justice and cultural evolution?
I hope I am inviting people into these conversations in a playful, open way.
As a white artist I also want to contribute to an expanded conversation about self-reflection and awareness.
What first sparked your love for patterns and design, and how has that passion evolved over the Years?
I’ve always been drawn to patterns because to me they are fun, hypnotic puzzles that make me want to climb inside and explore. I am curious to investigate why and how the tension between colour, shape, and positive and negative shapes make them seductive. This has led me to do extensive research about the history and meaning of patterns in different cultures throughout history: ancient Rome and Greece, India, South Asia, Scandinavia, Africa, Islamic pattern ranging from Iran to North Africa, and indigenous cultures of North, Central and South America.
How has your travel influenced the themes and aesthetics in your work?
I’ve been hooked on international travel since I first went to Nice, France at the age of 13 to learn the language. I was glad to learn that there was a much bigger world out there than I had realized, and I was transformed by visits to the numerous art museums and historic sites throughout Provence.
Since then I’ve traveled every chance I got to places like Indonesia, Ukraine, Morocco, Turkey, Crete, and of course everywhere in Italy.
I believe that travel expands our imaginations in every way: from new sites and landscapes to awareness of other cultures, perspectives, connect to people who are different and become aware of our own bias.
I’ve been hooked on international travel since I was sent to Nice, France at the age of 13 to learn the language. I was glad to learn that there was a much bigger world out there than I had realised, and I was transformed by visits to the numerous art museums and historic sites throughout Provence.
Since then I’ve traveled every chance I got to places like Indonesia, Ukraine, Morocco, Turkey, Crete, and of course everywhere in Italy.
I believe that travel expands our imaginations in every way: from new sites and landscapes to awareness of other cultures, perspectives, connect to people who are different and become aware of our own bias.
What’s a place you’ve visited that has had a significant impact on your artistic vision?
I have to say Morocco because of the vibrant design, architecture, craft and art traditions and because its been a crossroads for so many different cultures throughout history.
Do you have any favourite rituals or routines that help you get into a creative mindset?
I like to go to my studio with some coffee first thing before I speak to anyone or read anything. I can usually remember my dreams and I often dream about my artistic process. An artist friend describes this as staying away from the ‘cage of words.’ There’s so much that we experience beyond words.
When you’re not creating art, how do you like to unwind and recharge?
When I’m not making art, I am usually walking, biking, travelling to explore a new place, photographing, or in the water or having outrageous dinner parties with friends.
What role does nature play in your life and work, especially with your connection to the sea?
Being in nature and near the water is enormously important to me, and I’m in the process of rearranging my life so I can live and make art near the ocean.
What’s a book, film, or piece of music that has inspired you recently?
I am very excited to learn about Biomimicry – a new discipline where designers take inspiration from natural organisms in order to create our world in ways that is more symbiotic with our environment.
How do you find inspiration in the mundane or everyday aspects of life?
I’ve always had the conviction that everyone is infinitely creative. Not everyone is willing to slow down and give quality attention to what is around them – but I know that if you do, you will rewarded to see more and more. Some define ‘miracle’ as a shift in perception and I agree.
What are some of your favourite places to visit when you need a dose of inspiration?
I like to research Art & Design History – this is infinitely fun for me!
How do you balance your personal life with the demands of your creative practice?
I’m getting better at both fierce scheduling and flexibility when things come up – not easy!
How do you stay curious and keep your creativity flowing?
No need! If I don’t keep up with my ideas they wake me up in the middle of the night. I just need to capture them.
What’s a recent discovery—whether in art, culture, or life—that’s excited you?
I’ve recently begun laser cutting which is amazing – and I’m patterns by cutting out holes from fabric.
How do your relationships and connections with others influence your art?
My art is about relationships in many ways, and how I want to live with integrity.
What’s one thing people might be surprised to learn about you outside of your work as an artist?
I’m a writer and I’m getting ready to publish a book in the next year.
What does a perfect day look like for you when you’re not focused on creating art?
Being by the water with family and friends.
What’s your go-to quote when you are lacking motivation?
“The work reveals itself as you go. It tells you what it wants to be.” – Rick Rubin
