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Paul Maher’s Paintings Dwell On The Fringes Of Urban Wilderness

Art

Over thirty years of exhibiting his art, Paul Maher has shown his tranquil urban landscapes in Paris, Newcastle and the Art Gallery of New South Wales. He has made a career searching for pockets of seclusion amongst urban chaos, and found them in the edges of the city, where the border of civilisation meets the natural world.

Now approaching his second solo show at Saint Cloche in Sydney, Paul’s calm compositions are deeply reflective of our current moment of stillness. His paintings are a portal to the simplicities of a world we can remember but no longer access. At least for the moment!

26th May, 2020

Left: Mosman South from Cremorne Point. Right: Red violet Cordyline – Rex and Ruby Graham Garden, Cremorne Point.

Left: Boatsheds Northbridge Baths. Right: Sun Lagoon, Noosa.

Left: Stone wall, Ocean road Palm Beach. Middle: People gathering before the virus Church Point, Pittwater. Right: Steep slopes to Cammeray moorings.

Left: Boat Shed, Currughbeena Point. Right: Boatrowers reflection, Mosman Bay.

Sasha Gattermayr
Tuesday 26th May 2020

‘You can tell a lot about a place by the traces people leave behind.’ – Paul Maher

Paul Maher’s urban coastal landscapes rarely contain people, yet their marks are everywhere across his compositions. ‘You can tell a lot about a place by the traces people leave behind,’ he explains. ‘The informal paths, the obstacles, the place where vegetation has been untouched and where it is neatly groomed,’ he says. And it’s these echoes of human existence that intrigue him most.

In Paul’s paintings, the shapes of solitary buildings are reflected in still bodies of water, treetops shimmer in the ripples of the tide, a boat is docked at a small pier. His scenes all quiver with the promise of human life that never quite materialises. His measured, delicate brushstrokes mediate these tranquil settings to his canvas, in a perfectly restrained pastel palette. He is inspired by his contemporaries, Australian landscape painters like Peter Gardiner, Tom Carment and Junko Hagiwara.

Paul’s home studio in the heritage suburb of Hamilton East, Newcastle is perfectly placed to observe those secluded outdoor spaces where human activity meets the natural world. A north-facing wall of glass louvres provides perfect painting light and ventilation, as well as a view to the leafy backyard. The adjacent garage doubles as a workroom, were he stretched canvases and makes frames for his finished paintings.

Paul balances time in his studio with a long career in urban design, which he has been practising for 17 years. His landscapes are composed from the viewpoint of an observant bystander, and you can see evidence of his professional expertise in spatial planning trickle into his paintings. He seeks out local scenes where there is a combination of built-form and natural environment, illuminating examples of harmony between the architecture of the natural world, and the humanness of urban design.

Retrofitted with the lens of lockdown, Paul admits there is a wilderness to the paintings that he hadn’t quite seen before. ‘The recent restrictions have made my paintings look like windows to the wild, outside world we haven’t been able to visit,’ he muses. The last few weeks of isolation have allowed him to frame and prepare the pieces for his show down to the water, opening at Saint Cloche on May 27th!

Virtually tour Paul’s exhibition at Saint Cloche from Wednesday 27th May from 6pm. You can  find more details (including gallery appointment bookings) here.

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The Design Files acknowledge the traditional custodians of the lands on which we work, the Wurundjeri people of the Kulin Nation. We pay our respects to Elders past and present.

First Nations artists, designers, makers and creative business owners are encouraged to submit their projects for coverage on The Design Files – we would love to hear from you.

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