Lot 20 - Richard Paul - Futurist 1

3D Flip Lenticular
2025
A6 (10x15cm)
Original Artwork
Signed on Verso
Curated by Victoria Lucas

About

Richard Paul is an artist based in South East London. His work is concerned with material transformation and subjective perception, recently taking the form of paintings, hybrid painting/3D lenticular photographs, 3D lenticular photograph and 3D video installation.

Education

2004-2007
MA Aesthetics & Art Theory, Middlesex University, London, UK
1997-1999
MA Fine Art, Central Saint Martins, London, UK
1987-1988
PG Diploma Fine Art
1983-1987
BA Hons Drawing and Painting,
both: Duncan of Jordanstone College of Art (now Dundee University), Dundee, Scotland.

Solo Exhibitions

2023
Things, Atom Gallery, London, UK
2021
Vertigo, Theodore Art, New York, US
2018
Film For Friday, Tate St Ives, St Ives, UK
2013
Sea of Green, Sixprojectspace, Bournemouth, Uk
2013
You Might Find Yourself, Theodore Art, New York, US
2011
Compound Noun, Theodore Art, New York, US
2009
I Was a Teenage Hand Model Too, Seventeen Gallery, London, UK

Group Exhibitions

2024
Soft Semaphore, Seventeen Gallery, London, UK
2020
Unknown Unknowns, Theodore Art, New York, US
2019
Light Observed, Karst Gallery, Plymouth, UK
Joy Before The Object, Seventeen Gallery, London, UK
2018
Home in the Expanded Field, Courtyard Hiroo Gallery, Tokyo, Japan
Video Days, Bonington Gallery, Nottingham, Uk
Echoes of the Ornamental Garden, Seventeen Gallery, London, UK
2016
Foodscape Memories, Q Gallery, Tokyo, Japan
2015
Except the Mirror, FORMAT, Derby, UK
OPEN, Center for Fine Art photography, Fort Collins, Colorado, US
2013
Wonderland, Annely Juda, London, UK
Diagrammatic Form, Banner Repeater, London, UK
2012
Matt Golden/Richard Paul, Russian Club, London, UK.
2011
Perception, Attention, Trade Gallery, Nottingham, UK

Public Collections

Tate St Ives, St Ives, UK
Arts University Bournemouth, Bournemouth, UK
Loughborough University, Loughborough, UK
University of Dundee, Dundee, UK

Statement about AOAP Submitted Artwork

Think of these works as relics from a future-past, excavated from a dimension where physiognomy follows rules adjacent to, but not the same as, our own. The lineage is erratic, crooked: my concrete sculptures, ancient Sumerian votive figures, Picabia’s Monster Series, but not Mr. Potato Head. When translated into 3D, the image gains an alibi—or perhaps just a greater believability. The shift makes the strangeness more persuasive, an illusionistic argument for the impossible.