Paul (aka The Finsbury Park Deltics) has been drawing ever since he burst forth, urgent and confused, from a municipal bed into England. Initially he doodled as a way of alleviating childhood angst; now he does it as a way of alleviating angst that’s all grown up and running around with scissors.
Working in a variety of media, Paul parodies mass culture by exaggerating formal aspects inherent in our society. He makes work that sometimes appears idiosyncratic and quirky; at other times a by-product of Western hyper-consumption; yet more, humorously indecent.
Paul’s artwork is given improper functions; implications are contrary, form and content merge. Shapes are dissociated from their original meaning and the system in which they normally function is thereby exposed. Initially unambiguous meanings are shattered and disseminate endlessly.
By putting the viewer on the wrong track, he gently prods various overlapping themes and strategies, with several recurring ideas (class, provocation, violence, family and – oh what a surprise – sexual desire) eventually being throttled. Being confronted as aesthetically resilient and thematically interrelated for memory and projection, his work seems true and, as we all know, the truth exists but it has many faces.
Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed absurdly. In a search for new methods to read the city, he focuses on the idea of public space and more specifically on spaces where anyone can do anything at any given moment; the non-private space, the non-privately owned space, space that is economically uninteresting but socially and historically wondrous.
Paul often refers to popular culture in all of this. Using written, drawn and photographic symbols, a world where light-heartedness rules (some of the time), and where rules are undermined, is created.
And, lurking somewhere in the chaos, you will find signposts; signposts to a community only now seen through a blurred lens, enmeshed in hyperbole and ultraviolence; signposts to a country that maybe never even existed.
CALMzine front cover – national, 2014;
Strawberry Fair – Cambridge, 2013;
‘Plucking Clichés from the Sky II’ – Blush, London 2013;
‘Plucking Clichés from the Sky’ – Makers Gallery, Cambridge 2012;
Park Place Gallery – online 2012 to the present;
Rogue Screen Print – online 2012 to the present;
Survivor’s Poetry – London 2012;
Deadpixel Art – Cambridge 2012;
‘News from the War Against Terror’ – Art Salon, Cambridge 2012.
‘FLUX’ – Royal College of Art, London 2015;
Tempus Gallery, London 2015;
‘ID’ – Display Gallery, London 2015;
The Independent Artist Fair (TIAF), London 2014;
The Artists’ Pool – Iklectik, London 2014;
‘A Conscious Identity’ – Espacio Gallery, London 2014;
‘Urban Life’ – Guerilla Galleries, London 2014;
‘Time = Change’ – Espacio Gallery, London 2014;
‘In With the New’ – Menier Gallery, London 2014;
The Independent Artist Fair (TIAF), London 2013;
‘Invasion’ – Art Salon, Cambridge 2012;
‘Insight’ – Brick Lane Gallery, London 2012;