He was acclaimed for his figurative pieces that explore issues of gender and social status, along with mythological and historical references that often have a metaphorical twist.

At the age of eleven, Davis was involved in a train accident that resulted in a long hospitalization and recovery period which led him to discover self-expression through drawing.

In the '80s, Davis spent part of each year at the studio of acclaimed assemblage and installation artist Edward Kienholz in Berlin, Germany.

Edward and Nancy Reddin Kienholz were known for being two of the most influential and important figures to emerge from the Los Angeles art scene in the '50s and '60s.

This included the juxtaposition of "the magic and mythology of Mexico and the Southwest with often the violent and urban angst of contemporary "German Expressionism".

Throughout the mid to late '80s, Davis' work was shown in art expos in Cologne, Basel, Chicago, and Los Angeles.

Davis retired as Professor Emeritus from the University of Arizona in 1990 to fully devote his time to his paintings and exhibition opportunities.

[3] According to Charles A. Guerin, Director at the University of Arizona Museum of Art "Davis was a painter of extraordinary skill who understands the power and potential of the medium.

He completed signature book covers for poets Michael Van Walleghen, James McKinley, Louis Jenkins, William Pitt Root, and Pamela Uschuk.