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The uncanniness of Richard Davis’s interiors lies in the meticulous process by which he describes their spaces. It is also a property of the innate poetry that emerges from the accumulation of finely seen details, patterns and relationships.

Davis’s interiors are metaphors of consciousness in which absences are present in the intervals beyond the picture plane, and in which relationships and traces of human activity are alluded to in the silent visual harmonies that are conjured by his brush.

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