House, Palms, Pool 2013

© Paul Davies

182 x 150cm  $15,000

acrylic on linen    SOLD



Displaced Villa III 2013

© Paul Davies

122 x 91cm  $9,500

Acrylic on linen    SOLD



Modern Clearing 2013

© Paul Davies

73.5 x 115.5cm  $8,000

acrylic on linen    SOLD



Displaced villa II 2013

© Paul Davies

122 x 91cm  $9,500

acrylic on linen    SOLD



Columns 2013

© Paul Davies

122 x 152cm  $12,500

acrylic on linen    SOLD



Abandoned machine 2013

© Paul Davies

115.5 x 80.5cm  $8,500

acrylic on linen    SOLD



Neo village invert 2013

© Paul Davies

122 x 91cm  $9,500

acrylic on linen    SOLD



Disused pool 2013

© Paul Davies

167 x 136.5cm  $13,500

acrylic on linen



Home & Pool 2012

© Paul Davies

187 x 153cm  $15,000

acrylic on linen    SOLD



Modern Home, Empty Pool 2005

© Paul Davies

75 x 100cm  $8,800

acrylic on linen



Family Portrait 2012

© Paul Davies

198 x 152cm  $16,500

acrylic on linen    SOLD



Bridges and Fences 2012

© Paul Davies

198 x 152cm  $16,500

acrylic on linen    SOLD



Stars Over Nest and Fence 2012

© Paul Davies

198 x 150cm  $16,500

acrylic on linen    SOLD



Southern Cross, Empty Pool 2012

© Paul Davies

198 x 150cm  $16,500

acrylic on linen    SOLD



Jervis Bay NSW 2011

© Paul Davies

153 x 100cm  $12,000

acrylic on linen    SOLD



Luxembourg Gardens Looking Down, Red 2011

© Paul Davies

153 x 122cm  $12,500

acrylic on linen    SOLD



Deathmask Night 2011

© Paul Davies

153 x 122cm  $12,500

acrylic on linen    SOLD



Mum's House and Econo Lodge Reservoir 2011

© Paul Davies

187 x 153cm  $15,000

acrylic on linen    SOLD



Palette Mosaic 2009/2011

© Paul Davies

122 x 91cm  $7,500

acrylic, paper and resin on linen    SOLD



Mum's House with Empty Pool 2011

© Paul Davies

153 x 122cm  $12,500

acrylic on linen    SOLD



Mum's House Night Sky Blue Reservoir 2011

© Paul Davies

183 x 150cm  $15,000

acrylic on linen    SOLD



Luxembourg Gardens Looking Down 2011

© Paul Davies

153 x 122cm  $12,500

acrylic on linen    SOLD



House on Hill, Trees and Day Stars 2011

© Paul Davies

198 x 150cm  $16,500

acrylic on linen    SOLD



Echonest 2011

© Paul Davies

198 x 150cm  $16,500

acrylic on linen    SOLD



Beverley Hills House with Jervis Bay Trees 2011

© Paul Davies

153 x 122cm  $12,500

acrylic on linen    SOLD



Modern Home, Palm Trees 2009

© Paul Davies

76 x 76cm  $5,500

acrylic on linen    SOLD



Burnt Forest Reflection 2009

© Paul Davies

187 x 153cm  $13,500

acrylic on linen    SOLD



Peach Sky, Empty Pool 2009

© Paul Davies

187 x 153cm  $13,500

acrylic on linen    SOLD



Seidler House, Sunset 2009

© Paul Davies

153 x 122cm  $9,900

acrylic on canvas    SOLD



Green Sky, Green Pool 2009

© Paul Davies

187 x 153cm  $13,500

acrylic on linen    SOLD



Yellow Sky, Blue Pool 2010

© Paul Davies

153 x 187cm  $13,500

acrylic on linen    SOLD



Disused Stencil 2008-2011

© Paul Davies

122 x 90cm  $8,000

acrylic on paper    SOLD



Death Mask 2011

© Paul Davies

55 x 41cm  $3,500

acrylic on paper    SOLD



Aspens 2010

© Paul Davies

54 x 45cm  $3,500

acrylic on paper    SOLD



Bridges 2011

© Paul Davies

42 x 21 x 2cm  $4,500

handcut board cast in bronze    SOLD

 

Paul Davies

Paul Davies – artist statement



The focus of my work is the relationship between the built and natural environments. It is based on appropriation, as the works are created using stencils, which are hand cut and painted to juxtapose, repeat and mirror subjects.



The subjects include houses and landscapes from a variety of contrasting locations, which once stenciled, impose a structural order over the various backgrounds upon which it is painted. This process, for me, refers not just to the way Australia, since colonisation, has imported architectural styles to strive for a cultural identity. It also highlights the “struggle” against what is seen as the unforgiving natural environment.



Stenciling in essence repeats the ideals and anxieties associated with the original subject, but the relationship between the original and its reproduction is blurred through this process. This is analogous with the way architectural styles have been appropriated in the Australian context.



Much of the work depicts the modern home, devoid of human form, inviting the viewer to inhabit the space. This process evokes a sense that, despite the nostalgic appearance of the image, the observer is in the present tense, with the anxiety of an unknown future open to interpretation.



While the house’s exterior is depicted in detail, the nature of the interior is only implied. The absence of human form adds to the mystery of the possible reality existing within. The reasons these spaces are vacant remain unclear, and invite the viewer to project their own narrative onto the image.