Dávila’s early work often deals with a thorough analysis of how space is deployed and used. It also reconsiders our relationship with common, every-day objects; by frequently using materials such as cardboard, aluminum foil and books, the artist carries out a series of alterations that reveal the inner dynamics of the visual referencing that shapes contemporary life.
Through a series of symbolic fractures, the artist reveals how the present-day context is permanently conversant with modernist tradition. For example, the work Dwelling Development from 2000, makes a critical commentary on mass housing in Mexico by approaching the idea of the single-unit house which is designed to efficiently maximize space, but ignores human needs. The work is made with ceramic, playing with the notion of repetition and massive production. Another pertinent example is the photographic diptych titled Chinese Whispers from 2005 which displays a casual encounter with an accidental reenactment of Mies Van der Rohe’s Barcelona Pavilion. The photo displays a scene of precarious architecture from Southern Mexico with an uncanny resemblance to the aspect of the iconic modernist building. This sort of situations offers an opportunity for reinterpretation and reframing the ideals that have been transmitted through art history.