José Dávila has been working on his Cut-out works for several years now and has a wide variety of research lines through this technique, approaching the work of specific artists throughout art history. The progressive dissection of elements from the photographic documentation of these works transforms these images into autonomous three-dimensional presences. The background or the primary subject become absent figures, creating compositions that exist only through negation, thus alluding to a figurative cancellation of the atomic bomb by eliminating the mushroom cloud.
Dávila (Mexico, 1974) has also created thematic compendiums dissecting the visual languages that function within architecture, art history and the existing photographic documentation of artists and their studios. These apophatic gestures contribute to the possibilities of the homage and the reinterpretation of art history. Searching for the poetic nature inherent to these structural intuitions, Dávila produces artworks in which tension and stillness, geometric order and random chaos, fragility and resistance are rendered through a wide range of materials and media.