SECTION HEADING
The Magnifi cent Seven Giclée edition of 150 Image 18" x 22½" Framed £450
Canvas edition of 50 Image 25" x 31½" Framed £699
è Happy Hunting Ground Giclée edition of 150 Image 18" x 13½" Framed £299
Canvas edition of 50 Image 24" x 18" Framed £425
Quickly...To The Batcave Giclée edition of 150 Image 18" x 11½" Framed £285
Canvas edition of 50 Image 24" x 15" Framed £399
always be better with my coat on my head, which without fail would make me run faster” he laughs. In 'The Magnificent Sev- en' Davison’s love of Spaghetti Westerns is conjured up as the boys are drawn as a strong and silent cavalcade of cowboys with their bikes pulled up in line – menac- ing and bursting with pre-adolescent attitude. He also uses memories of his wife Mandy’s childhood games to create
characterful female portraits as a trio of little girls strike copycat poses of their high kicking heroines, and in 'Happy Hunting Ground' a small girl in a big landscape is lyrically etched as he draws on Mandy’s memory of saddling up her palomino to ride across the Great Plains – or in her case a suburban side street! Davison’s journey has been a remark-
able one. Although he displayed a talent for art at school he left at 16 for a series of dead end jobs but that talent and love for drawing never left him. “I did all kinds of work but I never stopped doodling and drawing” explains Davison who fi nally secured a job working as a cartoonist on a series of pre -school comics which led eventually to work in computer animation and the start of sculpt- ing 3D characters. The belief that he could actually make it as artist only came when he took some of
28 FINE ART COLLECTOR SPRING 2011
his work to a gallery in Darlington. He propped the canvases by the door while he went in to talk to the owner and by the time he left quarter of an hour later both pictures had been sold! Davison who still revels in the novelty of a life as a commer- cially successful artist now works from his own studio in a converted smithy in rural County Durham which is buzzing with ideas and creativity. Infl uenced by a number of cultish artists
Davison is happy to admit to adapting and sometimes absorbing references. His work resonates with the dark Gothic imagery of Californian cartoonist Mike Mignolia, and the Japanese Pop Art king Yoshitimo Nara whose work depicts pastel-hued children drawn with confi dent lines with little or no background. Like Davison’s children, who appear at fi rst to be cute and even vulnerable, Yoshitimo’s children sometimes brandish weapons like knives and saws, and similarly they
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