2009 – 2011
The relationship between space and color formulated by Josef Albers is widely considered in Jose Dávila’s work. Through the superposition of solid-color planes, Albers triggered a formal quest around composition that configured an important part of his body of work. As an exercise of redefinition, Dávila uses different materials to simulate the chromatic differences underpinned by Albers in his Homage to the Square. This new homage exceeds the approach about the interaction of color and geometry to locate the square as a phenomenon in space.
Starting with a color vinyl square attached to the wall and placing three squared glasses of different sizes in front of it, the work integrates notions of light, opacity and transparency to Alber’s reflections. Moreover, the artist creates a three-dimensional object using the distance between the glasses, inquiring into the spatial attributes of the artwork.
Widening the search on the spatial nature, a mobile designed to hang from the ceiling at a height that interacts with human scale reveals a new form of square superposition as a kinetic sculpture. In this case, the composition of the work changes continuously as the squares spin around and cross each other, occupying different places in space. Unlike Albers who was interested in precise geometry, Dávila intervenes the square’s mathematic perfection through handcrafting. For another work in the series, the artist uses hand-made ceramic squares, an attribute that allows him to controvert the principles of equality of sides and the right angle. In this sense, the ceramic tiles are a simulacrum of the squares honored by Albers.