Jose Dávila has created a recent series of cut-out works that approach the pictorial languages of Roy Lichtenstein and Pablo Picasso, with a special emphasis on their portraits and paintings depicting human forms. The progressive dissection of elements from the photographic documentation of these works transforms the brushstrokes and the color blocks into autonomous three-dimensional presences. The background or the primary subject become absent figures, creating compositions that exist only through negation. These apophatic gestures contribute to the possibilities of the homage and the reinterpretation of art history.
Even though the isolated brushstrokes render an ambiguous composition, they successfully reference their origin. This visual identification becomes almost automatic due to the familiarity the public has with the works by Picasso or Lichtenstein. The pictorial consequences of these visual styles that took place in the canvas are replicated and taken to the support of the image itself, staggering the medium of representation.
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 such as Dan Flavin, Richard Prince, Alexander Calder, among others. He 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.