Gerald Davis adopts cartooning as the most logical tool for expression. His images capitalise on exaggerated gesture to convey magnified emotion. Davis’s monochrome palette is used as an atmospheric device, forcing the viewer to visually and emotionally adjust to the image space. In Boy-fight, Davis portrays the relationship dynamic he had with a childhood frenemy. Rendered in hazy tones, his canvas hovers between youthful innocence and adult knowingness. Using the pristine qualities of illustration, his painting conveys a brittle fragility, visually distilling the precarious balance between love, hate, and sexual desire.