Joel Laing, better known by his pen name Davi Go, is quietly making history from his home in Montego Bay. At 30 years old, he has become one of the few Jamaican illustrators trusted by some of the world’s biggest comic book publishers, including Marvel, DC, Boom Studios and Image Comics. His work has already graced the covers of globally recognised franchises such as X-Men, Star Wars and G.I. Joe — a remarkable achievement for any artist, let alone one working thousands of miles away from the heart of the industry.
The global comics industry is notoriously difficult to enter, even for artists based in North America. For a Jamaican illustrator, the barriers are even higher. Yet Laing, a self-taught illustrator, gained entry into international illustration in a surprisingly straightforward way, by his own account. “It’s kind of anticlimactic – they all simply reached out to me based on what I was posting online,” he explains. Social media became his gateway, a way to share work beyond the island and into the feeds of editors and art directors at some of the world’s most influential publishers.
Grounding at Herbert Morrison
Born in Montego Bay in 1994, Laing attended Howard Cooke Primary before moving on to Herbert Morrison Technical. It was at Herbert Morrison that his artistic abilities found structure and direction. The school’s Visual and Performing Arts programme gave him both technical grounding and an environment where creativity was valued. “I learned a lot about the fundamental technical aspects of art in my high school’s Visual and Performing Arts programme,” he explained. But more than technique, it was the presence of other creative students that made the difference. “Being surrounded by other creative kids was the most impactful for me overall.”
Although comics would eventually define his career, they were not his first love. He grew up immersed in fashion, music and television. “I was obsessed with America’s Next Top Model,” he admitted. These influences shaped his eye for detail, composition and personality in art, long before the world of superheroes and science fiction became his professional arena.
Working with the World from Jamaica
Today, Laing has collaborated with Marvel, DC, Image and Dynamite, among others. His credits range from glossy superhero projects such as X-Men to darker, more niche titles like Nita Hawes’ Nightmare Blog. His recent assignment for G.I. Joe was a particular highlight. “It really brought me back to my 10-year-old self,” he said.
Yet even with these achievements, he often feels a sense of distance from the industry. “It almost feels unreal. I feel very disconnected from it all because all my clients and most of their fans are overseas. I rarely interact with this world in my day-to-day life.” It is a reminder of the unusual position he occupies: a Jamaican illustrator working at the centre of global pop culture, but physically far from its networks and audiences.
Jamaican Identity in His Work
That physical distance is part of why Laing is intentional about including Jamaican culture in his personal projects. “Wherever possible, my first choice is always my people and culture,” he said. Commercial work rarely provides opportunities to express that side of himself, so he reserves his own projects as spaces where fashion, humour, music and language become central.
One piece that remains deeply meaningful to him is a painting he created in Microsoft Paint, depicting two Jamaican men — one tenderly kissing the other’s shoulder, a spliff tucked behind his ear. For Laing, it was an exploration of vulnerability and affection in a Jamaican context, imagined against a backdrop of rugged street aesthetics. “It still stops me in my tracks when I come across it all these years later,” he reflected.
Perception and Representation
In Jamaica, the scope of his work is not always fully appreciated. “It doesn’t feel to me like most Jamaican people have given much thought to what my job is like. I get the sense that they just think of The Avengers movies and think, ‘Oh, that’s pretty cool’.” He speaks about this with humour rather than frustration, recognising that illustration — especially in comics — remains a niche profession on the island.
Internationally, he sees mixed progress on diversity and representation. “In some pockets of the industry it can really feel like there is so much progress, in others, not so much. It’s hard to gauge what the real-world impact is a lot of the time.” The tension between creative expression and audience expectations is something he navigates often. “The audience can often be quite protective of their favourite properties,” he observed.
Art as Storytelling
Laing views his work as more than images; to him, it is a form of storytelling. “I always have something to say, and so does my work. I may not always know exactly what my message is, but the aim is always to evoke a feeling, or start a conversation.”
At times, audiences respond to his work in ways that feel reductive, seeing only what is glossy or amusing. But he accepts that as part of the risk in putting art into the world. “At my skill level, that often means I just didn’t stick the landing,” he admitted with candour. “Other times, I might just have not hit my target audience.”
What’s Next for Davi Go?
Alongside ongoing commercial projects, Laing is currently developing two loosely connected stories that are heavily inspired by Jamaican culture. He is also producing a set of covers for DC’s Red Hood series, while continuing to take on commissions for private collectors. His longer-term ambition reaches beyond comics. “I started making comics as a child because I couldn’t make movies on my own. One day I want to see one of my stories on the silver screen.”
For young Jamaican illustrators hoping to follow his lead, his advice is pragmatic: “Post the kind of work you want to get paid for and post consistently. And be vulnerable – let people see some of your personality.”
Jamaican Creativity Matters
Davi Go’s career is exceptional not only for the global scale of his projects but also for the rarity of doing this work from Jamaica. Beyond the franchises, what makes his journey compelling is how he brings a Jamaican lens to his personal work, ensuring the island’s humour, music and unspoken vulnerabilities are represented on the international stage.
His most important work may yet be ahead, but even now, his achievements mark him as one of the island’s most significant creative exports.
Learn more about Davi Go, explore his full body of work, connect with him on social media, and purchase his art prints here.
