Danielle Roney is a New York–based artist whose practice is concerned with how art and technology create meaning in the twenty-first century.

Drawing on a polymathic approach that links sculpture, expanded cinema, and advanced technologies, for over two decades she has animated fluid architectures to redefine the role of communicative infrastructures in civic and institutional spaces. Large-scale, mediated artworks—whether sculptural or screen-based — orient how we individually and collectively navigate our place in the world.

Roney’s artworks connect collective behaviors and spatialized intelligence to underscore our macro and micro entanglements. Site-specific, conceptually driven projects range from curvilinear, LED-embedded sculpture to experimental infrastructures that transcend spatial embodiment. Local datasets illuminate deeply considered responses to the unique social and natural ecologies of place.

Roney has produced an expansive international exhibition practice, situating her work within global dialogues of technology, media ecologies, and cultural infrastructures. At the vanguard of the networked public sphere, she presented Global Portals at the first TEDGlobal in 2005—a transnational framework for live simulcasts from Johannesburg and beyond. From 2005–2008, she extended her studio practice to Beijing, exhibiting in the preeminent off-Biennial Convergence, curated by Feng Boyi and CS Kiang. Sequential museum solo exhibitions articulated the Genesis Trial Series, situating pluralistic modern centers— of Beijing (Atlanta Contemporary, 2006); Johannesburg; (MOCA-GA 2007); and Sao Paulo (SouthxEast Biennale FAU, 2008) —within digital worlding, systems of surveillance, and the logics of cultural transmission and translation.

In 2010, she designed the U.S. Pavilion, Venice Biennale of Architecture, with the High Museum of Art, Atlanta and 306090, Hong Kong. Opposing Views, commissioned by the International Symposium of Electronic Arts, Istanbul 2011 in conjunction with the Istanbul 12th Biennale, presented the visualization of conflict through debate upon the media façade of the Museum of Contemporary Art, Zagreb; a historic first real-time project for the museum. Roney directed her focus upon global migration for a decade of work resulting in the seminal expanded cinema piece, Refugee Conversations (2014), adapted from Bertolt Brecht’s eponymous works. In 2019 she created STRATA, LED portal infrastructures for human presence, occupying the Spencer Museum of Art, as part of the Integrated Arts Research Initiative funded by the Mellon and Warhol Foundations. The following solo exhibition, Frequencies of Opacity, extended this work and material innovations (Upfor Gallery, Portland OR 2020) towards her upcoming work, Systems of Uncertainty.

Her monumental permanent commissions anchor international airports, medical research centers, and civic gateways, translating intangible systems into sculptural and time-based presence. Award winning  projects merge conceptual research, site specificity, and groundbreaking fabrication to create landmarks resonant across scales of individual, community, and geography.

Major public commissions span NCR World Headquarters (2017), NYU Langone Medical Center (2022), and Charlotte Douglas International Airport (2023), including recent iconic works for Denver International Airport and PortMiami (2025).