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Selected Projects


A Community Art and Social Collaboration

The Errata Project, building on the conscious omission of women artists in the early editions of H.W. Janson’s History of Art, takes the form of a continuously growing library archive dedicated to female artists and establishes a related social platform. The project is realized through participating institutions as they collaborate with the public. It creates an instrument for community involvement to maintain sustained dialogues about women in art and society with the ultimate goal of sensitizing people at local levels towards gender equality and positive changes.

The Errata Project forms part of the 2018 Oficina de Proyectos Culturales (OPC) Public Programming, awarded support by the Fundación Jumex Arte Contemporáneo.

Errata Project PDF (Eng) (Esp) (926 KB)


Gringo: Taking Root in a Faraway Land

Forming part of a public plaza or walkway, the installation Gringo is made by cutting away or creating with the existing materials, the letters of the word Gringo, as openings to the ground below, where grass and small flowers are planted.

The realization of Project Gringo is dictated by the physical characteristics, weather and demographics of the host location to create a platform for discussion about the historical, conceptual, and social ramifications related to the word Gringo and the symbiotic nature of an immigrant’s life in a foreign community.


Beyond the Agentic State

The works in this project are derived from military ribbons of specific generals and inspired by the Obedience Experiment from the 60s conducted by Stanley Milgram at Yale University. Removed from the context of the military uniform and scaled up in size, the design of the medals transforms into a colorful work of art in a modernist, hard-edge style, distant from the concept of war.

2018_petreausBeyond the Agentic State 3, 2018
Digital image
300 x 200 cm.

Rendezvous: This Land is My Land

The romantic and majestic landscape paintings of the later 19th century played a pivotal role in the concept of Manifest Destiny and western expansion in the United States. These works inspired many to move west with the promise of a new life in unspoiled lands teeming with abundant natural resources. The concept of utopia continues in the landscape genre.

 The works from the Rendezvous Landscape Series are comprised of imaginary images, post cards and found landscape paintings. The landscapes from this series are then sectioned off in quadrants in a similar fashion to surveyed land. The grids also pertain to the multitude of grids we use and encounter in our daily lives, such as the longitude-latitude indications on our GPS, street grids and even the pixel grid on our computers.

 The surface of the landscapes are then painted on to indicate areas designated for development and or cut away in parts revealing a plaid, or Tartan design. This design reflects my Scot-Irish ancestry and communal carbon footprint and creates a reference to a street grid, an idea influenced by the work of Piet Mondrian, especially his work following his arrival in NYC after WWII broke out. The removed sections of the landscapes are indebted to the process of destruction utilized in the work of Lucio Fontana. The destruction in this case, however, is systematic.

 The found paintings for the Rendezvous Series inherently embody a historical reference to the origins of the landscape genre. Even the most common, production line, factory landscape found in many homes are simply a diluted commercial continuation of a long tradition of landscape paintings offering a window to an unspoiled utopia.

Rendezvous 16.3, 2016
Superimposed, archival prints mounted on cut aluminum with acrylic paint  
100 x 100 x 5 cm.


2014_rendezvous_17Rendezvous 17, 2014
Oil paint on canvas, plywood and printed cloth
69.5 x 99 x 3.5 cm.

This work is an intervention with a  painting executed by the artist Aldolfo Espinoza de los Monteros. Painted in the early 70s, I found this piece hanging on the wall of one of my favorite jazz lounges, El Patio de Mi Casa, in Puerto Vallarta. Years after an initial request, the owner graciously allowed the evolution.

Art/Sign  (German version)

Art’s power lies in its freedom to develop beyond the constraints and limits of a logical social construct. Art creates windows in this social construct which allow us the opportunity to see beyond prescribed limits. Art germinates in the cracks of the infrastructure and grows heuristically, not logically, through chance and discovery, unpredictably, taking root in the friction and debris of daily lives. Ultimately, the collective force of art molds our social identity creating a sense of place for each generation.  

The Art/Sign Project is an intervention, or sculptural installation using the European dead-end street signs on site, or as sculptural elements to offer a dialogue on the power of art in our society.

“We need art in order not to allow this world to become a house without an outside.” 

Karsten Harries, 2009



The works in this project address levels of censorship through the playful modification of a published text. The original text is progressively pared down to create diverse meanings very distinct from the original version. 

Within this same series, several works demonstrate an extraction of Spanish texts from an original English text.

Image: Extraction: Kosuth: Spanglish: La Cultura
Neon version
Dimensions variable


Good Vibrations

As travelers, our tendency is to focus on the visual aspects of a trip, capturing images of the places and people we want to remember, or share with others. In this group of works the focus is on a different aspect of travel...a graphic trace of the vibrations as we move from one place to another.

Good Vibrations  is a group of drawings that captures the vibrations and movements while traveling by train between destinations.



It was an admiration of minimal line drawings from the 60s and 70s that initially inspired the Spiral Series (1998- ). Using simple systems, artists such as Sol LeWitt and Agnes Martin created beautifully sophisticated work. 

The concept of chance, however, is not inherent in much of this work. I was interested in finding a simple system for creating drawings that adhere to basic rules, but which can also develop without a specific outcome. It was the organic beauty of altitude levels on topographic maps that brought me to the idea of using a simple spiral.

Added to its beauty, the spiral form has a rich, dense history dating back to ancient, megalithic art and is prevalent in nature, fractal growth systems found on any scale from minute biological configurations such as DNA strands to the vast formations galaxies demonstrate as they expand in the universe.

2016_detur_beachcombingCarved Spiral 37, 2016  
A single line carved into cut and sanded acrylic sheeting, mounted on a metal frame
179 x 246 x 6 cm.


DeTuR is a collection of works and projects using eroded brick and mortar fragments accumulated since 1985 from various parts of the world. 

As a form of contemporary archaeology, these fragments have been used in small intimate works as well as large installations to offer discussions on time, purpose, chance, destiny and archaeological practice.

2016_detur_beachcombingBeachcombing for fragments at the mouth of the Cuale River in Mexico, 2016


In collaboration with students and professionals, a series of invented texts and timelines were created to establish a history for a selection of eroded fragments to underline the unknown histories inherent to each fragment and to parallel the use of story-telling as tool in the mechanics of historical documentation.


La Sala, 2012,
Eroded brick and mortar, new brick, sand and rebar
Installation view: Galería Omar Alonso, Puerto Vallarta, Mexico

All images on this webpage subject to copyright. (c)2013 Davis Briks. All rights reserved.


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