"The seduction of still life is lost in the vast history of art, as is the heated debate triggered by this genre of painting. It's a never-ending topic, just like subjugation. Given that the process of thinking about art refuses to obey rules other than its own, it often tends to lag behind the leaps and bounds of creative development. While art advances ahead of existing prejudices, pride often blinds reason and emotions. Still life paintings document the history of culture...
It is impossible to walk by one of DÃ¡vila's works without being affected by their mystery. They reveal metaphors of an insightful vision of reality in which conscious and subconscious needs merge with social experiences. Colors and forms come together to create harmony and balance, but a secret tension also comes into play.
DÃ¡vila captures the spectator's attention with these pieces. Viewers tend to think they know what they want to look at and what they do not. To defend himself, the artist constantly presents surprising scenes where the viewer feels he is seeing things for the very first time. And as the viewer's gaze is always somewhat distracted, the artist sets up a trap for him...
DÃ¡vila's work is also implicitly charged with humanistic protest. The artificiality of the outer world versus the genuine nature of the inner world. The imprint left by the objects that surround us. Memory on a blurry blackboard. The hope of the future in the chalk of knowledge. The fruit that hangs from a thread, like our chance-filled lives. The enduring quality of science and the arts. The terrifying solitude of man who takes refuge in himself. A drama that speaks of the silent theater of the mind.
Since then his works has been exhibited internationally in Spain, Italy, Switzerland, France, US (Washington, New York), Teheran, (Persia), among other countries, he has also represented Venezuela at the XIII Sao Paulo Biennial (1975), in the meantime he has shown his works extensively in Venezuela and has participated in art fairs as ArtBo and Fia, His pieces are part of important private and institutional collections as the Museo de Bellas Artes de Caracas permanent collection.
Galeria de Arte Ascaso was founded in Valencia, Venezuela in 1989 by Antonio Ascaso and Limari Ramirez de Ascaso. In 2002 they opened a branch in Caracas and in 2010 a new space, Ascaso Gallery, in Wynwood Arts District, Miami, bringing propositions of diverse backgrounds of Latin American art, with monographic and thematic exhibitions new to audiences in the United States. Ascaso Gallery supports public art projects and publications.
A very important accomplishment of Ascaso Gallery has been the production of museum quality catalogues and publications of the artists represented. Ascaso Gallery works directly with the artists, coordinating exhibitions in the gallery as well as in other institutions, representing them in international art affairs such as FIA Caracas since1992, Art Miami since 2000, ArtBo since 2007