{"id":452,"date":"2015-05-04T18:03:14","date_gmt":"2015-05-04T18:03:14","guid":{"rendered":"https:\/\/www.sebastiandavila.com\/?page_id=452"},"modified":"2022-10-27T19:17:25","modified_gmt":"2022-10-27T19:17:25","slug":"acerca-about","status":"publish","type":"page","link":"https:\/\/www.sebastiandavila.com\/?page_id=452","title":{"rendered":"Acerca \/ About"},"content":{"rendered":"<p id=\"tw-target-text\" class=\"tw-data-text tw-text-large tw-ta\" dir=\"ltr\" data-placeholder=\"Translation\"><span class=\"Y2IQFc\" lang=\"es\">Este portafolio del trabajo de Sebasti\u00e1n D\u00e1vila incluye su trabajo inicial de fotograf\u00eda de calle, su trabajo fotogr\u00e1fico en estudio con maquetas de papel y su escultura. A pesar de que ha habido cambios significativos a lo largo de los a\u00f1os, hay ciertos elementos que constituyen el lenguaje presente a lo largo de la obra de D\u00e1vila. La relaci\u00f3n entre el espacio y la escala humana y la sugerencia de narrativas absurdas se utilizan para explorar nociones de ambig\u00fcedad existencial. Fuertemente influenciado por la arquitectura y la pintura existe un profundo inter\u00e9s por la composici\u00f3n geom\u00e9trica, particularmente en el delimitaci\u00f3n del espacio negativo. Una fotograf\u00eda de un and\u00e9n, una escena construida frente a la c\u00e1mara o una escultura hecha a partir de objetos encontrados se convierten en abstracciones arquitect\u00f3nicas que examinan c\u00f3mo un individuo ocupa un espacio determinado. En su m\u00e1s reciente obra escult\u00f3rica el trabajo de D\u00e1vila cambia su enfoque hacia la f\u00edsica del tiempo. Basado en el concepto de la entrop\u00eda la obra utiliza el orden y la modularidad para proponer una l\u00ednea de tiempo y el absurdo impulso de querer llevarle la contraria o querer interrumpir el tiempo. Este trabajo busca visualizar la temporalidad del espacio, la espacialidad del tiempo y el cambio como la \u00fanica constante.\u00a0<\/span><\/p>\n<p>This brief overview of Sebastian Davila\u2019s work includes his earlier street photography,<br \/>\nhis photographic studio work with paper models and his sculpture. Despite the fact that<br \/>\nthere have been significant changes in medium over the years, there are certain<br \/>\nelements that constitute the language present throughout Davila\u2019s work. The<br \/>\nrelationship between space and human scale and the suggestion of absurd narratives<br \/>\nare used to explore notions of existential ambiguity. Strongly influenced by architecture<br \/>\nand painting there is a deep concern for geometric composition, particularly in the<br \/>\ndelimitation of negative space. A photograph of a sidewalk, a scene built in front of a<br \/>\ncamera or a sculpture made from found objects become architectural abstractions that<br \/>\nexamine how an individual occupies a particular space. In his most recent sculptural<br \/>\nwork Davila shifts his focus towards the physics of time. Based on the concept of<br \/>\nentropy the work employs order and modularity to present a timeline and the absurd<br \/>\nimpulse to try to interrupt or challenge time. Davila\u2019s work aims to visualize the<br \/>\ntemporality of space, the spatiality of time and change as the only constant.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Este portafolio del trabajo de Sebasti\u00e1n D\u00e1vila incluye su trabajo inicial de fotograf\u00eda de calle, su trabajo fotogr\u00e1fico en estudio con maquetas de papel y su escultura. A pesar de que ha habido cambios significativos a lo largo de los a\u00f1os, hay ciertos elementos que constituyen el lenguaje presente a lo largo de la obra [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-452","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.sebastiandavila.com\/index.php?rest_route=\/wp\/v2\/pages\/452","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.sebastiandavila.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.sebastiandavila.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.sebastiandavila.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.sebastiandavila.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=452"}],"version-history":[{"count":7,"href":"https:\/\/www.sebastiandavila.com\/index.php?rest_route=\/wp\/v2\/pages\/452\/revisions"}],"predecessor-version":[{"id":781,"href":"https:\/\/www.sebastiandavila.com\/index.php?rest_route=\/wp\/v2\/pages\/452\/revisions\/781"}],"wp:attachment":[{"href":"https:\/\/www.sebastiandavila.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=452"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}