An exhibition of paintings is currently showing in the lobby of a leading five-star hotel. Nothing exceptional there, except for the fact that one does not have to try and fathom out when the exhibition is open and when it is closed. The exhibition consists of a series of paintings, made by a Scotsman and his interpretation of Malta. Nothing exceptional there either - so many foreigners pass through and decide to leave their mark via some artistic expression. But viewing these works with attention, elicits in me, a Maltese national, a deep respect for this artist. I will try to explain why.

Peter Quinn is not new to Malta, not new to exhibiting in Malta either. This is not his first brush with our land and culture - I would consider him a well-seasoned visitor.  This time round, he is showing just over 50 works in varied sizes, all created in watercolours and all depicting some aspect or other, some landscape or seascape or streetscape around Malta. The physical presence of humans is minimal except where these, as he explains, "are usually part of a street scene. Sometimes I allow them to dominate but they are usually figures in a landscape. Many paintings have no figures however I'm usually interested in the traces of our activity in the landscape be it paths, walls, wires, fences. I particularly like subjects where the ancient and the modern rub shoulders."

And these words chime true as I observe 'Valletta Street Scene' with great attention, albeit with a slight underlying feeling of unease. The buildings are beautifully depicted in their quiet and antique architectural glory, whilst passers-by are dressed in loud and negligent street-wear that rings a dull bell of disrespect. I realise the artist intentionally created this wide comparison with intellectual attention, bringing what could have been merely a postcard scene crashing effectively into contemporary reality.

I move on to admire another painting - a close-up of what was, to all intents and purposes just the facade of a curious-looking ironmongery. 'Plumber & Electrical' is Quinn's interpretation of 'ye olde street shoppe', rigged out in full colonial period yet set against very Maltese limestone.   The use of colour and a very wide palette indicates how attuned the artist is to the Mediterranean ambience. Several foreign artists tend to claim they are immediately bowled over by the element of strong light in Malta and how this excites colour to dance forth. Quinn however admits that, "When I first came to Malta I found the light very difficult -  it can be very bright whilst northern artists are used to shadows and gloom. Once I started coming to terms with bright colour in sky and sea, and with the colour of Maltese stone (also its texture and fragility), then I began to find a way to paint what I saw."

The interesting thing is that Quinn successfully channels typically tepid watercolours into a superlatively iridescent level of brightness, occasionally going even beyond what would normally be considered a Maltese sunshiny scene.

 Step back to look at 'Pawlina' and see for yourself just how strongly Maltese it feels. As you study the painting, and the detail of overlapping colour you can just about miss a detail, slightly amusing and curious - the glimpse of the backside of a male figure stooping over the boat's edge. Had Quinn been a caricaturist, he would probably have thrown him over.

The 'House of Niches Rabat' is a landmark most will recognise. Quinn manages to depict a solid standing corner building in a slightly higgledy piggledy form. Nothing demeaning at all, but somewhat tangibly loving. It makes the viewer feel just how fond of such landmarks the artist is.  Then I come across 'M'Xlokk Quay Side." This is a painting which commands attention. Perhaps not for the choice of theme which is typical, oh so typical of Marsaxlokk, but rather for the staggering and initially confusing level of detail involved. Quinn has taken such great note of each and every rope and string, every scrap of paraphernalia with which the fishing boats are usually loaded, that the detail verges on the extravagance. The same meticulous attention has been meted out to 'Balconies & Postcards' even whilst the subject matter is of a totally different kind.

"The paintings on show were all completed in my studio back in Newcastle. In Malta I walk, explore, find things that strike me, make small sketches and studies in notebooks and sketchbooks and take a number of photographs. The painting is an amalgam of the source material I've managed to gather. One photograph is rarely enough......"

It is laudable how this artist has managed to elevate the confusion of our Maltese ambience to a level of refinery which few artists are able to bring forth. His are not simply glimpses of Malta. Rather, they allow you to jump in and relish Malta for what it is - warm, colourful, loud and electric. Malta has very evidently managed to creep determinedly under his skin.

Exhibition of Paintings in Watercolours by Peter Quinn RWS is on show at the Radisson Blu Resort, St Julian’s until 20 May. Proceeds are in aid of St Patrick's Salesian School. Contact - [email protected] or  00356 - 9984 0031