Right Now Art

Belle Magazine

April/May 2009
Leeta keens

Paul Davies’ ongoing interest in modern architecture is yet again in his new show at Tim Olsen Gallery. Working from photographs of actual houses, both here and overseas, and combining painting and stencil techniques, he creates landscapes in which the constructed and natural environments collide and interact in unexpected ways. Devoid of people, works in his latest exhibition, such as Burnt Aspens Landscape (left), have an eerie, almost dreamlike feel.

Young at Art

The Australian Magazine

March 2007
Kerrie Davies

Ruddy's Archibald success is proof that winning prizes can kick start careers. The same an be said for Barton, with wins in the Sulman Prize and the Blake Prize for Religious Art, and for Lovett, whose $5,000 prize in the Qantas Spirit of Youth Award for his painting Inner Metro Parking Dragon, funded a trip to Spain. But as painter Paul Davies has discovered, one can also be a star artist without prizes. Davies, 27, has 100 people on a waiting list for his urbanscapes and his next exhibition opening on March 20 at Sydney's Tim Olsen Gallery, should be a sell-out…

GQ

August/September 2009

A plethora of skill in landscape, painting, photography, sculpture, stencils and graffiti have brought a dynamic edge to Paul Davies's images of architectural facade and interiors. With it's focus on the built enironment, his work takes a cue from the bold colours and minimal designs of 1970's modernism. The modd of British srtist David Hocknet comes through in his panoramas of modernist houses in bold colours, depicting the glamour and nostalgia of Palm Springs mansions and pools…

Bazaar Insider

Harpers Bazaar

May 2007
Margret Merien

We love the work of Paul Daives, who is showing at the Tim Olsen Gallery from April 22. Architecture is his inspiration and his techniques of using hand-cut paper stencils adds texture to his canvases, creating a '70s modernist feel.

Arts & Entertainment

The Sydney Morning Herald

May 2009

Davies is popular with buyers and his lastest exhibition of unpeopled architectural paintings - some of which feature fine, hand-cut stencil work and each of which has its own note of mystery - has sold out. Favies says he's not a frustrated acrhitect but has always been "drawn to straight lines". Apparently he likes a tidy studio too. These wonderful art works are woth a face-to-face visit; reproduction in newsprint and onscreen doesn't do them justice.