For this body of work, Davidson used a macro lens to photograph images from some of his favourite artists’ monographs. Making pictures of pictures, he isolates fragments of existing images until their original subject is reduced to printed lines, textures and surfaces. The closer Davidson moved his lens toward the source material, the more abstract the work became.

Initially functioning as representations of the world, the sourced images are progressively displaced through cropping, enlargement and abstraction. Through processes of re-photographing and reconstruction, recognisable forms shift into luminous fields of light and colour that hover between image and sensation, recalling horizons and landscapes without settling into fixed representation. Davidson further extends this process by printing these cropped images onto large paper rolls of paper and re-photographing them to create a layered accumulation of image, material and time.