Ulysses Davis spent most of his adult life cutting hair. Born in 1914, the Fitzgerald, Ga. native worked as a blacksmith’s assistant before migrating east with family to sleepy, historic Savannah, where he opened a neighborhood barbershop behind his home in the 1950s. The shop served a dual purpose, though. It was also Davis’ personal art gallery.

When not shaping hair, Davis shaped wood. It was a pastime indulged since youth, when he used to whittle figures out of wood destined for the family fireplace. As Davis grew, so did his skills, both in form and theme. Devoutly religious, extremely patriotic and a student of history, the self-taught artist channeled his interests into stunning depictions of Biblical, political and historic figures, as well as functional objects like tables, boxes and walking canes.

Davis created more than 300 pieces large and small from mahogany, pecan, poplar and other woods during his lifetime. Refusing to sell or part with his “treasure,” he instead displayed them around his barbershop, where the creations served as decoration, conversation starters and jumping off points for history lessons.

Through May 14, Intuit: The Center for Intuitive and Outsider Art presents “The Treasure of Ulysses Davis: Sculpture from a Savannah Barbershop.” The incredible survey features 109 pieces.

Susan Mitchell Crowley, who curates folk art at the High Museum of Art in Atlanta, organized Davis’ work into four distinct categories: religious sculpture, patriotic works and portraits, Africanized sculpture and creatures. The luminaries reworked into wood busts, figures and reliefs range from President Jimmy Carter to the Egyptian pharaoh Akhenaton.

The depictions are far from straight portraiture, however. Davis didn’t shy away from skewing reality. Faces, limbs and other features are stretched, exaggerated and minimized. Bejeweling and beading cover the pieces obsessively. The influence of traditional African art is strong. Humor and fantasy work into the mix, as well, traits that erupt full force in Davis’s “creatures.”

In Intuit’s back gallery stand fantastical, mythical creations. Large winged beasts, centaur variations, wild-eyed smiling serpents and extraterrestrials populate the grotesque parade. Worlds from the rest of the exhibit, these carvings nevertheless possess the distinct look that marks Davis’ work, and their presence reveals the all-encompassing breadth of his creativity.

The exhibit’s centerpiece is removed from such eccentricities, though.

Forty-one busts depicting U.S. presidents from Washington through Bush Sr. keep silent watch over the exhibit. The likenesses are respectful and free from caricature, while retaining that Davis charm. A carving of the Great Seal of the United States sits amongst the bunch — the words “The Greatest” etched into its base. Amassed together in three rows under glass, the figures are staggering. They evoke many things — an unapologetic tribute to one’s country, an impressive education in history and politics, a study in determination, and, most importantly, Davis’ ability to link these elements into a powerful, artistic statement.