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Throughout the years, a transition from the vessel-oriented forms of the past to the sculptural pieces took place. “Obelus for Baghdad” and “Les Muses” being examples.

“Obelus for Baghdad” is an expression of concern for the waste of war, while “Les Muses” is an expression of hope for the promise of creativity. The clay components in both pieces are wood-fired stoneware. “Obelus” includes a steel pipe connector, sand, and bone-like porcelain pieces referred to as souvenirs. The word obelus is a root for obelisk, the ubiquitous pointed stone form originated in ancient Egypt that symbolizes the connection between the earth and the heavens as indicated by a ray of light from the sun. Obelus has an alternate meaning as a marker used in manuscripts to indicate questionable passages. “Les Muses” intentionally uses the French spelling and includes raw clay from the artist’s yard.

Even though a good deal of creative energy is now going into the sculptural pieces in the form of the “Towers: Arezzo Series”, vessel forms continue to maintain their fascination for Davis. He perceives both avenues of expression as related, simply different types of clay-work. The bowl, vase, and basket series are still relevant and ongoing.