Paul Lemmon

I work from my own photography, acquired whilst soaking up the culture and colour of city life, and consider this to be an indispensable part of my painting process. In fact, the way I take pictures is essential to achieving the overall seductive, cinematic dynamism that I’m looking for – shooting ‘from the hip’, utilising odd angles, severe cropping and incorrect exposures, often manipulating the images even further later on.

Once the composition has been established – which can often take longer than the actual painting stage – I work very 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 to me: the marks themselves, the texture and existence of the paint in its own right. This drives my technique and my conviction is that 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 the paintings.