Larry A. Davis

As in much of my past and present circumstances, my future creative endeavors will revolve around choices associated with my career. I have changed jobs within Disney three times in the past two years due to circumstances and opportunities culminating in a position with Walt Disney Imagineering. This has led me to another period of professional adjustment as I gain momentum on the ever-elusive status of retirement.

In the up-coming period between the "Jawless Series" and what-comes-next, I find myself turning inward as I contemplate the next period in my art, as well as in my life. I have been thinking a lot about what is important in life, which leads me to thoughts of the human condition with all of the pain and suffering that continues to dominate our existence on planet Earth. That being said, I believe that the creative spirit is one that ultimately makes Earth a better place to live. Having worked more than a quarter of a century for a company that creates entertainment, fantasy, and fun, has taught me that even in the worst of times, a happy escape to a place like Disneyland or to a movie like Pirates of the Caribbean, can bring a smile to almost anyone's face, helping them to forget, if even for a short while, about the challenges and tragedies that surround them.

I am thinking bigger for my next artistic expression "multi-facetted" impacting all of the senses, by creating an environment that incorporates sounds, smells, motion, lights, and shadows within the gallery space. Elements moving around the room - some literal, some virtual with percussion periodically pounding out rhythmic tempos intermixed with droning melodies, thereby creating a serene and yet unstable setting - from serenity to chaos and back - a reference to how unstable our planet (and our society) is.

I will begin with some rough sketches and planning studies of the environment as I explore rhythms on my drums - both the Ludwig set, and the hand-made Tombal'es, as seen in my Anatomical series. I also have a desire to procure and begin experimenting with an electronic set to expand the audio options. In the gallery I am envisioning having all three sets represented as draped elements, similar to the wall pieces in the Jawless Series, while not actually there under the draped shapes. These shapes will be floating overhead in three of the four corners of the room, I am thinking upside-down and internally illuminated with lighting projecting upward from within the forms as recorded audio of beating drums encircles the room relative to the position of each set. In the fourth corner, the set of Tombal'es will be positioned on the floor for performances throughout the night of the opening reception. Additional draped three-dimensional forms of humans in various poses will permeate the floor space - I see between four and six forms - standing, crouching, lying around the room. I have also been thinking of making the audio portion collaborative by joining up with a friend and former guitar player from the bands I was in many years ago - coming full circle, back to a time when I was not involved in a corporate career, but was exploring life as a free, but struggling, independent musician / artist. What did exist for me during that time, which ultimately led to my fleeing Ohio in pursuit of graduate school and bigger dreams in California, was optimism and hope. If I can somehow portray that same sense of hope, and yet in an unsettling way, then my artistic experience will have succeeded.