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Painting

Installation

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Exhibitions:

Uprooted

Usted Está Aquí

Paradise in Process

Artificial Turf

DeTuR

Red










Exposure 42, 2006

Acrylic paint mounted on acrylic sheeting
30 x 30  cm.


exposure_42
davis_birks

davis_birks

Spring 18.3, 2018


Acryilic paint on canvas
mounted on PVC laminate

27 x 37 cm.

spring_18_3
dbdavis_birks

Rendezvous 17: This Land
Is My Land, 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. Years after an initial request, the owner graciously allowed the evolution. 

Influenced by Mondrian, Fontana and my Scottish heritage, this romantic landscape has been  zoned for development.

more images of the Rendezvous Series...here>>

rendezvous 17
davis_birks

Deerxing, 2009

130 x 300 cm.
Acrylic paint on canvas

deerxing
davis_birks

Red Curtain, 2009

Acrylic paint on canvas
59 x 80 cm.


The painting Red Curtain continues the parameters
set for the narrative figurative paintings of the late 80s early 90s by juxtaposing an additional set on the stage to create an interactive dialogue between both.

High heeled shoes have a rich history dating back to ancient
Egypt. They continue to be an urban staple, popularized
even in film, as in Necesito Dinero, with Pedro Infante, or as in Wong Kar Wai's 2046, both inspiring the iconography of this painting.

Symbols of our contemporary metropolis, high heels
epitomize leizure, sexuality and sophistication, yet are totally
unfit as footwear beyond the boundaries of our cities.

red_curtain
davis_birks

Jack N Jill, 2009

Acrylic paint on canvas
130 x 230 cm. 

This painting is a continuation of a series started in the late 80s titled Big Conscience. A series inspired by the theater sets of Gene Buck, the more recent paintings move beyond a single "set" of activity to incorporate multiple sets and events.

2009_jack_n_jill
davis_birks

Exposure 42, 2006

Acrylic paint mounted on acrylic sheeting

31 x 31 cm.


Even with today’s digital intervention, an inherent sense of veracity still remains in black-and-white photography, a certain truth about a subject observed from the world around us that has been captured at a certain moment in time.

The paintings from the Exposure Series rest aesthetically between Photography and Painting.

View more images from the Exposure Series...here>>

davis_birks

Parkque 7, 2005

Acrylic paint, cloth and silkscreen on canvas

178 x 170 cm.

This series draws on two sources, Oriental and Western landscape painting from the 1800s. The works in this series use the concept of the city park to address issues of coexistence between the metropolis and natural environment.

The imaginary landscapes from the Parkque Series reflect the idea of the romantic grandeur of an unspoiled paradise exploited in the 1800s by the US to promote western expansion.

The landscapes are painted on very thin canvas and then adhered to a thicker canvas to suggest a visual parallel to Oriental landscapes painted on rice paper and attached to other supports. 

The borders around the landscapes as well pay tribute to the stamped borders of repeated designs often used in conjunction with the Oriental paintings of that time period. 

However, the designs of the borders in the Parkque Series are derived from city maps. An ironic contrast is set with the rugged landscapes confined within the limits of the city.

davis_birks

Vivarium 15, 2003

Acylic paint behind glass with acrylic frame

20 x 20 cm. 

The Vivaria Series started as research for solutions regarding the Exposure Series.

Many of the images I was working with were biological in nature, resembling cells or tissue. Viewing the forms through the glass reminded me of the vivaria in museums as well as viewing microorganisms through the lid of a Petri dish, or on a glass slide under a microscope.

Visually, the glass acts as a polarizing agent, offering a distinct view of the structure observed.

The pieces in the Vivaria Series offer a glimpse of an imaginary biological world behind glass. It is through the glass these worlds are viewed and it is also the same glass that  protects us from any danger that might exist on the other side.

davis_birks

Three Kinds of Skies Over The Rich Earth, 2002

Cut and assembled paint Pantone
with metal clip

19 x 5 x 1.5 cm.

Paint swatch companies give names to specific colors as a way to appeal to customers at different emotional levels. From the swatch books I have analyzed, some of the major name categories are Food, Nature and Personal Names.

Three Skies Over the Rich Earth presents a traditional landscape painting with a sky (skies), horizon and foreground. Each of these landscape elements is a flat, painted color that has been given a name related to nature as a strategy to appeal the emotions of a potential buyer.

davis_birks

Spiral 35, 2002

Permanent ink and acrylic paint on canvas

191 x 178 cm.

It was an admiration of minimal line drawings from the 60s and 70s that initially inspired this series. 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. 

More images of the Spiral Series...here>>

Wait A Minute Please, 2001

Rust impregnated acrylic paint mounted on wood with metal frame

26 x 98 x 5 cm.


Esperame, 2001

Rust impregnated acrylic paint mounted on wood

35 x 6.5 x 3.2 cm.


The Time Series pieces are 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. 

view more images of the Time Series...here>>

davis_birks

Rendezvous: Scotch Cloud, 1997

Acrylic paint, printed cloth on canvas

108 x 75 cm.

davis_birks

Rendezvous: Lago Verde 1, 1997

Acrylic paint on canvas

215 x 160 cm.

rendezvous_lago_verde_1
davis_birks

Nube Azul, 1996

Acrylic paint, printed cloth and rust on canvas

160 x 220 cm.

nube_azul
davis_birks

Parting Is Such Sweet Sorrow, 1996

Painting performance using water on existing floor

davis_birks

Siempre Te Cuidaré, 1995

Acrylic paint on wood
180 x 243 x 8 cm.

siempre_te_cuidare
davis_birks

Niño Perdido, 1995

Acrylic paint on wood
16.4 x 24.8 x 1 cm.

nino_perdido
davis_birks

Big Conscience: Get Busy, 1991

Acrylic paint on canvas

150 x 170 cm.

1991_get_busy
davis_birks
davis_birks
davis_birks


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