BIO:
Davon McMillian (b.) 1990, Pittsburgh, Pennsylvania attended Butte College for his Associate’s before transferring to California State University, Chico, where he graduated with a Bachelor’s in Studio Arts in 2020 following a year studying language and culture in Japan. Over the course of a decade (2015–2025), McMillian worked as a commercial designer in retail and fashion—an experience that culminated in founding his own clothing brand, Mednokta®, and later transitioning into a full-time studio practice with Mednokta® Art Dept.
McMillian has exhibited work at local venues in Chico, California, including a 2018 Pondopium show at Argus Bar & Grill, and has developed series such as his single-word poster prompts, which experiment with language, context, and personal interpretation.
His multidisciplinary approach often pivots or merges traditional drawing, painting, screen printing, and digital processes, reflecting his background in both fine art and commercial design.
McMillian is currently based in Los Angeles, California, where he continues to explore themes of human form, emotional resonance, and the power of symbolism in visual storytelling.
ARTIST STATEMENT (c. 2025):
I’m a multidisciplinary artist who places the human form and experience at the heart of my work. I employ drawing, painting, and digital processes to explore identity, impermanence, and isolation—concepts I call “III.” To dive into these ideas, I make use of typography, figures and portraits, sketchbooks, flat compositions, textures, and video.
My process almost always begins with a sketch—an open space for raw thought and exploration. During this initial phase, I engage in an internal dialogue about my own experiences with “III,” looking at how they shape my perspective versus reality, and positioning my work in the liminal space between the two. While sketching focuses on layout, text, figures, and portraits, the final form usually emerges afterward, based on what best serves a broader conversation.
I also value the moment where the conversation shifts from internal to communal, allowing viewers to bring their own perspectives into the piece (even if my own biases still guide the overall discourse). In 2024, I fully committed to my conceptual and fine art practice, moving away from my history in commercial work. Yet I continue to draw on my design roots—whether by choice or by habit. Ultimately, I strive to spark dialogue around how we view identity in a constantly changing world, shaped by our interpretations of symbols, stories, and trauma.