REMARKS

COMMENTS ON THE PAINTINGS OF MM DAVIS BY STEVEN FOOTE

Malcolm Davis' color selections are intriguing. One of his paintings in the Lobster Gut Series contains 40 or 50 different hues and values. While at first glance, they may seem arbitrarily chosen, they aren't. The blues, pinks, greens and earth tones can all be seen on the coast of Maine, whether in the sky, foliage, water or lobster buoys.

However, these colors could never be seen in a single instant. A broad range of lighting conditions, time of day and seasonal changes would be required to record them all. When they are depicted in a single painting, the effect is extraordinary.

Steven Foote, Artist, www.stevenmfoote.com

FINDINGS ON THE PAINTINGS OF MALCOLM DAVIS BY HUGH SCHEFFY

I have looked at the Airport Series and have taken a tour around the web site. I love the work and thought the explanations were very well done, even if a bit beyond me from an architectural, photographic and artistic point of view. Nevertheless, an appreciation of the process comes through.

Hugh Scheffy, hscheffy@earthlink.net

OBSERVATIONS ON THE PAINTINGS OF MALCOLM DAVIS BY BARRY TEPPER

Mr. Davis, an architect by training, began his fine art career by using his elevation drawings of buildings as the starting point for paintings. Even in these early paintings, his characteristic hard edge technique was well established, as was his sophisticated use of color. At first glance, these paintings seemed to be pure abstraction – each small straight-edged geometrical section defined by unequivocal color well balanced with its surrounding sections – but the viewer then had the pleasurable sensation of "discovering" that s/he was looking at one side of a building. Read more...

Barry Tepper, Artist, www.tepper-arts.com

REFLECTIONS ON THE WORK OF MM DAVIS BY GEORGE PALETHORPE

"What is most impressive about your work is the obvious mastery of your technique."

George Palethorpe, Artist, www.georgepalethorpe.com

OPINION ABOUT THE PAINTINGS OF MALCOLM M DAVIS

The colors on his paintings do not merge, blend or overlap. They are bordered by crisp, sharp edges. All the paintings are of a man made object. He makes a cardboard model which may depict a man made object. He makes a cardboard model which may depict a man made subject, such as Boston's lower Charles River basin. The model may represent a natural object such as the valley of the Chama River in northwest New Mexico or a channel between two small Maine coast islands. Read more...

Rupert Stone, Art Critic, www.pseudonum.art