Paul’s art has received global acclaim from critics and collectors in the fashion and music industries, being hailed as some of the most style conscious imagery to define the shifting trends of popular culture.
Paul’s iconic images are summoned through individually painted dots in high gloss enamel paint on sheet aluminium; this meticulous process creates a flawless reflective quality as if they were literally in a glossy magazine.
Painting each dot individually takes as long as it takes, they’re all different in size, shape and colour, and all applied freehand using a fine brush onto aluminium. There are no shortcuts.
The great drawback with the technique, one that is a constant detriment to Paul’s health, equates to simple physics - the paintings have to be produced horizontally. In order for the paint to stay still long enough to dry where it should, Paul’s aluminium ‘canvas’ cannot be positioned upright on a traditional easel, as gravity causes the paint to sag and run.
Paul has tried several devices over the years to allow him to paint horizontally - from lying on a plank supported on two chairs, to a hammock suspended above the floor. None of them have been perfect, and none have permanently removed his need for weekly sessions at the back specialists.
Due to Paul’s technique, each piece took hundreds of hours to complete, to paint a full image made up of individual dots.
Paul’s many high profile fashion assignments have included a range of portraits of supermodels Kate Moss and Agyness Deyn. In 2008, Paul was personally approached by Brandon Flowers of US rock band The Killers, and asked to create the cover artwork for their third album ‘Day & Age’ which is now multi-platinum. This was named ‘Best Album Cover of the Year.’ by Rolling Stone Magazine.
Following a string of sell out shows and media attention Paul has become one of the world’s most sought-after contemporary artists, receiving international acclaim and exhibiting as far afield as Japan, the United States and Australia.
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