When Davidson was commissioned by a patron to carve a "magnum" briar a few years ago, you could say that he caught the bug. At that point, his largest pieces were on par with Dunhill Group 5 or so, but after making a few more for the Chicago show, the scale of his work increased by two or three times. It's rather unnerving, for me, when an artist or artisan suddenly decide to go larger. Sometimes it's a swelling of ego and other times they just want attention; Davidson, however, is none of these things. If you were around him as much as I am, you would quickly figure out that he's a hardworking, down-to-earth fellow, who is too preoccupied in the act of creation to lust after recognition (though he has it). What's that old quote? "Fame finds those who are too busy to look for it..." I am paraphrasing here.
Anyway, as you can see, for all its size and muscular proportioning, the pipe maintains an artful and well-balanced design. As substantial as it is (and it most definitely is, especially in chamber), and despite its very solid industrial form, the lines are clean and flowing, in part due to its subtly bending shank which transitions into a fully rounded heel and soft bowl. He has really has outdone himself with this piece; what could have been just an uncompromising mass, in lesser hands, has been refined to sculpture.