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Daniel
Paulo - Paintings and Music
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Daniel Paulo is
a painter and musician based in the North of England
Scroll to bottom for links to CV, Biography, artist's
statements etc, below are links to galleries of work from 1998-2024.
ebook by Daniel Paulo entitled "Being An Artist:
Unlocking Your Creative Potential" download here.
Music by The Leonid Falls can be heard here.
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Strange Angels 2
Jan
2005 - Mar 2006
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Strange Angels 3
Aug
2005 - Jan 2006
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Golden Age II
Sep-Dec
2004
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A Golden Age
May-Sep
2004
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Artist's Statement
Art
is a search, a search for something indefinable and inconstant. Yet the
search always remains, there can never be an end to the questing, for
the answers are always like half-glimpses, like the sighting of an
angel, which can only be seen out of the furthest corner of the eye, if
it is even there at all. And yet, something tangible does result; these
are the paintings, results of the search, but never the end of it.
There are many things that are timeless and always relevant, such as
the human figure and it's place in the universe, the human soul and
spirit - things invisible and underneath which put into perspective our
ant-like existence; these things are important.
Go away trivial, humdrum, menial and stale. Come here bright, profound,
substantial and glowing, for your wings are endless, your possibilities
infinite; why consider anything less?
The
works are mostly painted in acrylic on canvas. Sources include:
mummies, classical and gothic statues, aztec figures, religious
imagery, egyptian figures and architecture, byzantine art, stained
glass.
Influential
artists include Rothko, Van Gogh, Munch and Friedrich.
Work
is toured a number of Cathedrals across the UK from 2006-8 including
Bradford, Carlisle, Lincoln and York.
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About
Daniel Paulo's work by the Very Rev Keith Jones, Dean of York
Daniel
Paulo’s exhibition of angelic forms in the Chapter House of York
Minster was a fascinating match with its site. The first
impression is of figures against a background; but closer
inspection shows that the angels rather emerge through the background
colour and texture. We do not know (do not need to know) whether
they are appearing or disappearing. In a setting like this,
where light is filtered through so much glass, the sense of
transcendence and richness is revealed over and over again. You
keep looking at them, and they yield more and more.
About
Daniel Paulo's work by Viola Jones, Mrs. Dean of York
As a
member of the Minster Exhibitions Committee I was delighted to help
select Daniel’s work for showing over Lent and Easter.
As
an art historian, I have appreciated Daniel’s connections with
imagery of the past. There are strong echoes, in the dignity and
distance of his elongated figures, of the great mosaics of
Ravenna or Daphni. At the same time, his jewelled colours,
along with his use of broken outlines, give his figures a
tantalising sense of movement, and interplay with light, that is
reminiscent of stained glass, and forms a particularly happy
correspondence with the setting of York Minster.
Daniel
has assimilated these and other influences and made something entirely
his own; timeless, yet shifting, and expressive of our own
fragile moment now.
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About
Daniel Paulo's work by David Stone:
Daniel
Paulo's abstractions are bold, confident paintings, built up around
themes of expressive gestures and unidentifiable shapes. They
tend to have a vertical dynamic and presented in a portrait format; a
method that traditionally encourages us to look for the human subject
in amongst the deluge of amorphous forms. Armed with this insight
the mixture of shapes begins to take on a loose cohesion. Figures
can be deciphered as refracted motifs or distorted effigies, often
seated in an armchair-like frame, suspended before a background of
rough and oppressive colour.
The real
interest in Paulo's work is the processes he applies to his subject
matter. What starts as an engagement with a figurative form ends
with a subversive palimpsest of forceful weighty colour. The
subject is broken down into component parts, twisted and inverted
beyond recognition, then reconfigured into obscure creations.
These are compelling and haunting images, with a depth that draws the
viewer through the intense convoluted maze of lines. Yet through
the combination of jutting forms and contrasting colour, there is a
type of staccato rhythm, giving the painting a feeling of animation, as
we shift between what we see and what we infer.
written
for the Atticus Arts show, Bath, July 2006 ©David Stone
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Offers would be considered for many of
the paintings on display within these pages
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Swinner Gill
The
Amid Greenness