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Paul's approach to abstract painting is intuitive. He makes a mark and follows its lead, paying careful attention to stopping points along the way to identify the finishing point. He tries to stay out of the way of the physical properties of the materials manipulating them only to the extent that each piece dictates to arrive at a point of pictorial coherence. Much of the working process involves a deliberate flirtation with figurative imagery which, as soon as it appears to follow a certain representational direction, is immediately subverted to another direction. This subversion is accomplished both structurally and visually through drawing and applications of paint which defy control such as pouring and flinging and using knives or drawing implements to push the paint around and structure it. The use of metallic paint also serves to block literal interpretation. The process of the work generally occurs in one session. Keeping the paint fluid is important to allow it to interact with itself to arrive at the final image. As such, much of Paul's abstract work is in acrylics as it allows for freedom of application. However, in the past year, Paul has completed a number of important, large-scale works (including two triptychs) in oil-based paints which have taken his abstract work  in new and exciting directions.

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