Paul works from his own photography, acquired whilst soaking up the culture and colour of city life, and considers this to be an indispensible part of the painting process. In fact, the way he take pictures is essential to achieving the overall seductive, cinematic dynamism. Shooting 'from the hip', utilising odd angles, severe cropping and incorrect exposures, often manipulating the images even further. Paul’s primary interest is in conveying mood and atmosphere rather than specifics. Ultimately, his aim is to immerse the viewer in the paintings, whilst allowing them to imagine their own characters and narratives in what they’re seeing.
Once the composition has been established - which can often take longer than the actual painting stage –
Paul works rapidly with the paint, seeking to heighten the energy and spontaneity of the captured moment through vigorous brushwork and vivid colour and contrast. The surface of the painting is also very important: the marks themselves, the texture and existence of the paint in its own right; this drives his technique and conviction. The gestural painting draws attention to the human trace in the work, signifying both artist and viewer in the act of looking, which is central to the meaning of Paul’s work.