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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.
Beyond the Agentic State
The works in this project are derived from the military ribbons worn by 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 grouped medals transforms into a colorful work of art in a modernist, hard-edge style, distant from the concept of war.
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Beyond the Agentic State 3, 2018
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
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Rendezvous 16.3, 2016
Superimposed, archival prints mounted on cut aluminum with acrylic paint
Rendezvous 17, 2014
Oil paint on canvas, plywood and printed cloth
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)
Inspired by the writings of the philosopher Karsten Harries on the importance of art, 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.
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Within this same series, several works demonstrate an extraction of Spanish texts from an original English text.
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Extraction: Kosuth: Spanglish: La Cultura, 2005
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.
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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.
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.
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A single line carved into cut and sanded acrylic sheeting, mounted on a metal frame
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, migration and archaeological practice.
The journeys we make in life are not always by choice. In the wake of human migration, millions of relevant stories will never be told.
The real history of the brick and mortar fragments in these works will also never be known, but they can be imagined through the empathy of our own life's journey.
More images related to the DeTuR Project can be viewed...here>>>
Beachcombing 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,
The Time Series work is text based and it is the relationship of the surface characteristics in conjunction with the text that create meaning for the viewer.
Each of these works resembles a timeworn, rusted iron sign conserved from a bygone era.
The surface appears to have been in a state of decay for many years, a faux relic, creating the idea of archeological evidence, of an event from the past, a memory, which no longer retains the urgency of the moment, but transmits, or embodies a sense of nostalgia.
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El Primer Beso, 2015 (detail)
Rust impregnated acrylic paint mounted on wood
Rust impregnated acrylic paint mounted on wood
View more images of the Outpost Series here...here>>
Outpost 17.08, 2017
Exhibited first in Zürich in 1998, this interactive sculpture acknowledges and applauds the Dada movement as an important driving force in the development of contemporary art.
Applause Machine, 1998-2016
Chrome bicycle wheel, stainless steel stool, playing cards, wood
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