Like the Impressionist painters before him, Paul evokes moods and emotions with his colours, free shapes and energetic lines. Famed for his dazzling cityscapes, he effortlessly captures the hustle and bustle of the city.
Painting en plein air, Paul paints in layers until he senses the desired atmosphere. Starting with pale tones in the distance and building up to darker tones in the foreground creates a feeling of depth. The textured application forms a cityscape that is abstracted by energetic paint drips and the depiction of buildings as block shapes and gestural lines.
He has recently experimented with metal, which reveals his fascination with natural light. Exposed metal projects the change in light throughout the day, transforming the piece as the viewer walks past and adding a shifting perspective.
Paul says: “I aim to transport the viewer. I’m on the constant lookout for energetic locations and inspiration, immersing myself in the fast-paced movement.”
Paul's purpose-built studio is housed inside an old gasworks that dates back to 1868 and features stained glass windows, industrial steelwork and original brick walls. However, to capture the true feel of the city, he starts his sketches outside.
He explains: "Shadows move fast and light sources appear and disappear in seconds, giving me moments to record what I see. My head is bursting with ideas for paintings, and there's just not enough time in the day to paint them all. Whilst going through sketchbooks, I can rekindle the emotions and feelings of a particular scene.
“I paint in layers to create form until I can sense the atmosphere I want, and the structures start to emerge. To keep the piece fresh and spontaneous, I stop before it gets too fussy and crowded."
Showcasing the very best of our artworks, along with behind-the-scenes updates and interviews, the new issue of our Fine Art Collector magazine is a must-read!
The Spring 2019 issue of Fine Art Collector is brimming with insights and news from the art world, as well as all of your favourite artists.
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