Stones don’t Move
2016 | Sean Kelly Gallery | New York, USA
In Stones Don’t Move, Dávila occupies each of the gallery’s exhibition spaces with a powerful presentation of his signature photographic cutouts, sculptures, and paintings. The exhibition expands upon Dávila’s career long investigation into how the modernist movement continues to be interpreted, appropriated, and reinvented, the work on view will address the tenets of architecture, art history, and physical geometry, whilst demonstrating the extensive range of his practice.
Dávila presented a series of large-scale photographic cut-outs based on Roy Lichtenstein’s Femme d’Alger, 1963, which was inspired by Pablo Picasso’s The Women of Algiers, 1955, which in turn was inspired by Eugène Delacroix’s 1834 painting The Women of Algiers in their Apartment. Reminiscent of the Picasso series, which included fifteen oil paintings and several hundred sketches, Davila’s cut-outs are presented in thirteen variations. Beginning with a complete image, key elements of the image are progressively removed until the work is reduced to its essential structural elements, inviting the viewer to pause and consider the importance of both what is no longer present and what remains.
A selection of mobiles in various colors and sizes is suspended from the ceiling at different heights, creating an immersive kinetic installation. The works, part of Dávila’s ongoing series entitled Homage to the Square, are examples of his longstanding fascination with Josef Albers’ renowned theories on the perception and interaction of color through a mathematically determined format of squares. A number of freestanding glass and marble floor sculptures completes the installation in the main gallery. The sculptures expand upon Joint Effort – Dávila’s ongoing series of gravity defying works utilizing readily available building materials. Juxtaposing these materials in a literal and metaphorical moment of tension, the works create a powerful interplay of fragility and strength, balance and equilibrium.