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Born in Des Moines, Iowa in 1968, John Phillip and his family moved east to Dayton, Ohio soon after his birth where
his father served as Dean and President of a Smaller Private Bible College. Growing up in this segment of academia
John Phillip admits that it not only served as a great conduit for aestheticism but also the importance of emotion and
mystery as it pertains to the human experience; the polarities of life, the irony and the muscular play of forces which
are very evident in his work.

When looking at the work of John Phillip a few things come to the forefront. Muscularity is one. Davis relies not solely
but significantly on actual and implied texture. Having had an extensive career in design, 3D modeling and animation
when similar principles are applied to a flat surface a unique quasi-dimensional aspect is appears. Another significant
attribute is the almost inescapable polarities involved. Davis weaves a visual tapestry challenging the viewer to accord
the beauty of line and composition with the “controlled” chaos at work on the surface. Davis asserts that he hopes that
the overall result is a pleasant but unexplained passion that grows with the viewer. Having studies and worked largely
with mixed disciplines, Davis’ influences are as mixed.

From classical Renaissance works by Michelangelo and Conova, to moderns such as Rauschenberg, Dekooning & Geiger
just to name but a few, the result is a strength of line, a solidity in suggested motion on the surface and an adherence to
the vibrancy and passion of the uneven and opposed married together. In fact Davis most particularly classifies his process
as “reactive”. He asserts that with his background heavily in ornate religious backdrops as a child and his business career in design and animation, the result is a product that has weight, age, and yet is distinct, clear and viable.