This piece is about the act of longing—for clarity, for meaning, for something sacred. InDivinity, a single finger reaches upward toward a golden moon, suspended against a deep black void. The gesture is subtle but deliberate. It’s not a grasp, but a point—a recognition of something larger than the self. Acknowledging that we don’t always need to own something in order to be transformed by it.
Part of my ongoingOracles series, this work explores the intersection of spiritual hunger and the limitations of understanding. I’m interested in what it means to desire knowledge or transcendence in a world that often offers only partial answers. The hand, painted with anatomical precision, is grounded in flesh. The moon, almost impossibly luminous, represents the unreachable—an ancient symbol of the feminine, of intuition, of cycles that govern life below.
Divinity is not about resolution. It’s about the pause before comprehension, the breath before acceptance, the quiet moment when we dare to ask a question we know won’t be fully answered. Like many of my paintings, it deals with emotional inheritance and symbolic gesture. Here, the gesture is a kind of silent prayer.
This work isn’t about divinity as dogma. It’s about the human instinct to look upward and say, “I see you.” Even if we never quite touch it.
Rendered in oil with warm, natural tones and subtle textures, the painting seamlessly blends realism and symbolism, inviting reflection. Like many works in theOracles series, it leaves space for the viewer’s narrative to emerge.
Danny Schreiber is a figurative painter, tattoo artist, musician, and founder of The Copper Wolf Tattoo Studio and Art Gallery based in Tumwater, WA. He holds a BFA in Illustration from the Rocky Mountain College of Art & Design, where he graduated Summa Cum Laude and is the 2025 Robert B. McMillen Foundation MAC Award winner. Using oil and graphite, Danny blends classical techniques with contemporary symbolism to craft visually intricate and emotionally resonant images that invoke contemplation and reflection in viewers.
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Oracles is a body of work that explores how identity is shaped and fragmented through systems of power, and can be reclaimed through reflection and courage. These paintings are not literal narratives but emotional reliquaries—portraits of memory, inheritance, and transformation. At their core, they ask: what parts of ourselves were we told to sever in order to belong? And what might still grow back?
Figures reference classical Greek sculpture, a nod to the Western ideals and philosophical roots that continue to shape cultural norms. However, the compositions fracture those ideals. Torsos are incomplete, objects hover, and backgrounds dissolve into voids. Each image holds tension between realism and surrealism, control and vulnerability, flesh and myth.
The Oracles are not simply about harm or conformity. They are about complexity. About what it means to live with contradiction. Each piece holds space for both the pain of what was lost and the potential of what remains. Rather than offering resolution, the paintings function as quiet questions. What was cut away? What was planted? What still pulses, even beneath the surface?
This series emerged from my own lived experience, but it extends outward, toward anyone who has felt shaped by expectation, silenced by care, or fractured by love. It is an offering, not of answers, but of witness.
Oracles invites viewers to pause and reflect. To see not just the figures on the panel, but their internal landscapes mirrored back to them. In that space between image and viewer, something else becomes possible: empathy, recognition, and maybe even regeneration.
Colors vary from screen to screen and are represented as accurately as possible. The oil paint and glossy, protective varnish creates shimmering textures depending on the angle of the viewer.
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