Homage to the Square, 2015

In this newest edition from Guadalajara-born artist Jose Dávila’s acclaimed Homage to the Square series, the artist continues to reference Josef Albers’ painting series of the same name. Four stacked ceramic and gold leaf squares, each framing the previous in size, reflect the flaxen tonalities of surrounding light.  A tribute to the technical nature of Albers’ Bauhaus influence - in addition to Dávila’s own architectural background - the work also comments on the hierarchical relationship between artist and artisan, canvas and craft, particularly considering the social and art historical importance of ceramic tile in Mexican culture. 

Jose Jose Dávila's artistic practice is located in the boundaries of homage, imitation and critique. In a sort of mirage, the artist uses different reproduction strategies to dismantle the relation between form and content, as well as manifest the virtues and deficiencies of his references. For more than a decade, Dávila has configured distinctive aesthetics in his body of work, evidencing both his education as an architect as well as his character of self-taught historian.

Dávila's work addresses the question about the limits of instrumental values through the use of common materials to create sculptures, objects and installation. Frequently, the nature of these materials approaches architecture and construction, as well as formal artistic production, which subscribes his work to principles coined by Minimalism and Arte Povera. Dávila has also manifested a special interest in the use and occupation of space, issues that have been present throughout his career.

Dávila’s work has been exhibited in Museo Universitario de Arte Contemporaneo MUAC, Mexico City, Caixa Forum, Madrid, MoMA PS1, New York, Kunstwerke, Berlin, San Diego Museum of Art, Museo de Arte Reina Sofia, Madrid, MAK, Vienna, Fundacion/Coleccion JUMEX, Mexico City, Bass Museum of Art, Miami, Museu do Arte Moderna, Sao Paulo, The Moore Space, Miami, NICC, Antwerp, among others.

All our frames are manufactured in the USA, using eco-friendly and sustainably sourced engineered hardwood for durability and a uniform finish that is free of defects. Frames are available in Black or White Satin and Honey Pecan.

All prints are hinged to a conservation quality, acid-free and lignin-free Alpha Cellulose matboard, using an acid-free linen tape. The mat's surface paper is fade and bleed resistant and is attached to a conservation quality foam-core mounting board that will keep the work safe from deterioration over time. Artworks with a deckled or decorative edges will be floated on the matboard, with acrylic spacers to separate the art from the glazing. All mounting is fully reversible, without any potential damage to the art.

All of our frames come with picture quality .090 mm plexiglass, which blocks 66% of UV to prevent color fading from exposure to light, keeping your art protected for years to come. It is now considered the industry standard for artists, museums and galleries throughout the world.

For images up to 30" x 40"

• 1 1/4” wide, 3/4” deep, with a 2 1/2” wide mat.
• We generally leave 1/4” - 1/2” of paper showing around the image, to accommodate signatures and for visual appeal.

For sheet sizes larger than 30” x 40" please contact an Artspace advisor for a custom quote.

Our art editions ship in 7 to 10 business days from New York.

Our framed art editions ship in 11 to 14 business days from New York.

This work is eligible for return within 30 days of receipt of delivery.

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