Dávila’s photographic cut-outs, including the new work 'Untitled (Large Reclining Nude)' (2018), attest an interest in the indeterminacy of viewing as consuming, when the proliferation of images is constantly testing our sense of place or time, as viewers, in order to construct history. By piercing or ‘cutting-out’ the central subject of the image, Dávila compels the viewer to imagine, as an act of creativity, that which appeals to the common universal.
