"I try to treat my paintings like poemsI think you are able to perceive a whole world, a whole cosmos within a sharp poem. The lines are rooted like a tree in all levels of consciousness. Man can find many themes in poetry. I also use a broad spectrum of subject matter and try to create a work loaded with metaphors through method and composition."


1990 born in Graz / Austria

contemporary artist 

first solo exhibition 2013 in Vienna

2 studios in Graz

working in Graz & Ceppaiano (Tuscany)

Paintings in private collections in:

Graz / Vienna / Salzburg / Pisa  / Rome /  Montreal / New York / Barcelona / London / Dublin / Cape Town

Beyond language

“One may conceive my art as some kind of poetry. It is about aesthetics - impulses, about an alternate reality brought into our existing world. I create my ideas from an inner world of sentiments, it can be understood as a profound encounter with my innermost self. My true aspiration is to bring thoughts alive, to make them tangible for the spectators. These thoughts come from the subconscious mind, from a certain part of human apprehension that can't be understood completely but more easily felt. It works as an object and storyteller. A small line between heroism and agony. Art as an overall concept speaks to me in a different kind of language. It is nothing I can describe with words just like that. Either you have that sort of feeling towards art or you won't appreciate the value.“

The thought process of creating a painting is immense but has a value which is worth the demanding work. In contemplation of the great significance of his creative accomplishments Davis is putting a lot of effort into planning the process of his ingenious work. But once the plan is set the actual process of painting happens quickly but precisely. But the most challenging part for Davis is to finish the paintings in a way he considers appropriate. The further the process of painting is, the harder it gets to come to an end and to finish his creative work without losing its poetic sense. Davis uses colours as some sort of contrast and words to make things more tangible and mentally stimulating for the observer. It's all about seemingly hidden attributes the spectator is only able to find while looking at the painting for quite a while. Each work of Davis art has its own story to tell. And that's exactly what makes every single piece extraordinary.

"My interest lies in the field of tension. I try to build a bridge between the concrete and the abstract, without losing the core and therefore the basic idea. I try to give a point of reference, but no concrete solution. Thus, a question model remains open and stimulates. Not only stimulates visual satisfaction, it also stimulates analytical work. Association chains, chain reactions, mental dispersion into different layers. A leaf falls, we catch its meaning. The light shines through the branches and brightens our understanding. The roots anchor thoughts. It is the possibility to feel the tree as a whole as opposed to the pure pictorial representation.

In my art, I always treat topics within a thematic group, which in turn refer to individual subtopics. Here, a space is given to these thoughts and these topics. A space of thought between the reality and the abstract thought, whereby an intermediate level exists in which methodically a subject or an image is represented. It is important that a space of meaning is created, which serves the cause and dissolves. To add something that stands for itself but hovers in a kind of resolution. This raises questions about gravity, weightlessness, arrangement, and order systems. What is missing or what needs to be done? How do I combine the topic and the method without becoming bold?

I try again to create action in the picture with this impetus. A questioning and reflection of the image content as well as the thematic resolution and the link between what emerges and the invisible. To create a background noise, which finds itself cerebrally as own interpretation and as own image in each individual. There are sub-levels, meta-levels, fields of meaning that correlate with each other, small worlds that build up within this cosmos of an image, which in turn feed on the idea and the subject. This results in a separate component of the image, which one can not interpret exactly, but which contributes significantly to the fact that the image is coherent and works and in turn takes up what is due to the actual content. For me it is important to find the degree, to dissolve something, to be able to represent the core without being too concrete. A dash of ideas to put a dash, which is a brief reminder. A short return to something indefinite. Something definite, indefinite.

I am moving on a very dangerous terrain because I have to be careful that the picture is not too tangible, because that's exactly what I do not want to happen. I want to turn away and continue to dissolve. Never lose the basic idea and the consensus. As a result, one should live with the images that are understood as late as possible and whose riddles can be solved with difficulty. Attractive pictures quickly turn into posters that address the trivial interests of the general population but do not outlive and, at best, fall into oblivion after a brief period of development and become irrelevant. The term of art would not be legitimate there. Only the profound meaning remains. The production of thoughts and their strength, which survive."

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