The title of each piece corresponds to the geographical coordinates of the place where the pieces were made. The last number indicates the number of waves the paper received.
The piece is protected in an acid-free PH-neutral glassine paper envelope, archival quality.
Shipped rolled in a stiff cardboard tube.
27° 42' 26.32'' N, 7° 42' 26.32'' W-15, 2022
27° 42' 26.32'' N, 7° 42' 26.32'' W-15, 2022
From the series Mareas
Cyanotype on 300 gr cotton paper
Image size: 60 H x 114 W cm
Unique
Unframed
Signed by the artist
Paola Dávila was born in Oaxaca, Mexico, in 1980. She studied Visual Arts at the National School of Plastic Arts of Mexico, where she attended the contemporary painting seminar. He also attended theory and photography workshops.
In 2002, he received the National Photography Prize at the Yucatan Visual Arts Biennial, the Acquisition Prize at the IV Libertad de Arte Contest, and the state scholarship for Jovenes Creadores FOECA from the state of Oaxaca.
It has nine individual exhibitions and more than 30 collective exhibitions both in Mexico and abroad. During 2010 he received the Tierney Grant awarded by the Tierney Foundation of New York for the Manuel Álvarez Bravo Photographic Center to carry out the Temporary Interiors project. He has been a beneficiary of the Young Creators Program, FONCA, in 2003, 2006 and 2011. In 2014 he received the Scholarship for Artistic Exchanges and Residencies, FONCA-Land Salzburg of Austria, thanks to which he started the Schrebergarten project. In 2017 the City of Oaxaca awarded her the degree of Distinguished Citizen, in recognition of her artistic career.
In 2019 he obtained the title of Master of Visual Arts from UNAM with honorable mention. In 2021 he won the acquisition prize at the XIX National Photography Biennial, organized by the Image Center. Since 2020 he is a member of the National System of Art Creators, FONCA, CONACULTA.For several years the artist Paola Davila has generated various visual statements from photography. Beyond the self-imposed limits in thematic terms (the house, for example), this exercise has allowed him to articulate concerns and situate spaces: inside, outside, and the limits between one and the other. From there, with the landscape as support: as an extension of situations contained in intimacy or in the object, it has insisted on making its way within other thematic and media fields to different complexities of the idea of also inhabiting the public and finding a voice own in the contemporary photographic narrative.
