Matt Emma
On Rodeo Drive in Beverly Hills, Sir Daniel K. Winn’s gallery is a destination for collectors and admirers of contemporary art. Inside, his sculptures and paintings sit alongside work by artists he represents, his own practice being grounded in what he describes as “Existential Surrealism.”
Over the years, Winn’s career has expanded beyond gallery walls to encompass philanthropy, award-winning short films, and now a full-length feature project, Chrysalis. Scheduled for a 2026 release, Chrysalis dramatizes Winn’s early years and the personal history that underpins his art.
Winn’s artistic philosophy blends surrealist imagery with reflections on purpose, free will, and the human condition. His paintings and sculptures often juxtapose figurative forms with mythological or abstract elements, a combination intended to encourage viewers to reflect on their own existence and lives.
“My work is about my life experience, from my childhood up to now,” he explained. “Since I have no children to carry on that legacy, my artwork itself becomes my journey—showing my pain and suffering, but also my joy and triumph.”
For Winn, each medium he works in communicates something distinct. “Painting is two-dimensional. Sculpture is three-dimensional. Cinema moves. Each allows me to share my visual language in a different way,” he said. Film, in particular, has opened new possibilities. “It creates infinite interpretations and emotions, expanding far beyond what I could ever say through painting or sculpture alone.”
Winn’s realization of his artistic vision engages a network of personally trained artisans, especially in the centuries-old technique of the lost-wax process he implements. He initiates and finalizes each piece, ensuring it meets his exacting standards. “The vision is mine, but I trust my team to help carry it out,” he said.
At his Rodeo Drive gallery, he balances artist and curator. “The gallery we opened is meant to inspire hope, dreams, and aspirations for emerging artists,” Winn explained. “Even if we don’t choose to represent an artist, they still feel validated knowing we looked at their work.”
That sense of continuity reflects a long-standing tradition in the art world. Masters throughout history—from Leonardo da Vinci apprenticing under Verrocchio to Andy Warhol’s studio system and Damien Hirst’s assistants—built their legacies through collaboration and mentorship. Winn sees himself within that lineage, learning from established figures early in his career and now offering guidance to others, while remaining firmly in control of his own vision.
But Winn’s closest collaborator is his husband and business partner, Randall J. Slavin, co-owner of Winn Slavin Fine Art. “With Randy, for over 30 years as my partner and my husband, he is the very core of who I am,” Winn said. “We are yin and yang. My weakness is his strength, and his weakness is my strength. Together we’ve been able to do what we do.”
That partnership extends into production, with Slavin taking on the role of executive producer on his films. “Filmmaking especially takes a village,” Winn said of Chrysalis. “It will take nearly a thousand people and close to two years of work. I’m fortunate to have amazing teams in each area who help implement my vision and philosophy.”
Winn acknowledges that being gay has shaped his perspective, though he resists reducing the art to identity alone. “Being gay, yes, it has affected me. I’ve been criticized, mocked, and looked down on for simply being who I am. But I believe everyone experiences trauma in some way. I incorporate that into my art,” he said.
His goal is to make work that transcends labels while remaining deeply personal. “Whoever looks at my work—painting, sculpture, or film—can see themselves in it. They can see pain, struggle, and triumph that go beyond categories. While being gay has shaped my experience, my work is meant to transcend. It’s not just about me. It’s about all of us.”
Winn’s career has been recognized with international exhibitions, numerous awards for both his artwork and his films, philanthropic honors, and a knighthood from the German Princely Family of Schaumburg-Lippe-Nachod in 2018. While he values the credibility such honors bring, he stresses that awards are not the reason he creates. “I never do what I do expecting recognition or accolades,” he said. “Those are byproducts I am grateful for, but they don’t define me.”
Recently, when two of his monumental sculptures were stolen, Winn described the loss as “like losing children.” The experience, he said, was painful but also a reminder that “success attracts opportunists,” underscoring the double edge of public visibility.
What does define him is the impact he hopes the work leaves on audiences. “When people see my work, I want them to walk away seeing and feeling themselves, understanding who they are. It’s like looking in a mirror,” he said.
With Chrysalis in production, Winn continues to balance the demands of film, sculpture, painting, and gallery work. Yet he insists his focus remains on the present. “Dreams and projects are always on my mind, but if tomorrow doesn’t come, then those dreams disappear,” he said. “That’s why I focus on the present—making a difference now, not waiting until later.”
Whether through a bronze figure, a canvas, or a film frame, Winn sees his work as a record of existence and an invitation for others to reflect on their own. “Every day I try to accomplish the most I can, as if it might be my last moment on Earth,” he said. “So that even in that instant, I’ve made a difference.”