Paul sees many of his paintings as blueprints for his sculptures.  He often chooses to capture his paintings and the sculptures made from perishable materials in the durability of bronze. The development in technique of his sculptural work is very important to him. “Each piece stands on the shoulders of the previous one. The process is crucial”. The creation of each sculpture involves numerous steps; including origination, mould making, wax creation, casting and patination - amongst many others. It takes between 8 and 10 weeks to complete a sculpture.

​

P1  RALPH

edition of 1 Bronze from clay, unique cast  1998*

​

P2  LITTLE RALPH

edition of 8 Bronze from clay    1998

P2N LITTLE RALPH

edition of 8 Nickel with black patina   2000

Ralph personifies the portraits that Paul was painting in ‘98. During that period, Paul visited Paris and became fascinated by the patinas and methods of the Modern Artists. In the finish of Ralph he used only the sulphates that were available in the early 1900’s. The original mould was damaged in the casting process, so the Ralph exhibited here is a one off. But in 2002 he took a mould of the unique cast, and now there is an edition of  8. They have subtle differences from the unique cast, including shrinkage. The smaller moulds (P2 & P2N) were made to further explore the casting process. With one edition in bronze and one in nickel, Paul could examine the difference between two metals undergoing the same process.

​

P3 COME TOGETHER

edition of 4 Painted Bronze

This was chosen to immortalise Paul’s series of wooden sculptures in something more durable. “In working on this piece I imagined it exhibited in an outdoor environment. Casting ‘Come Together’  in bronze ensures the durability of the sculpture in all weather conditions.”

​

P4 STILL STANDING

edition of 9 Bronze from plasticine - black patina  2001

The shape of the sculpture is softened by applying a layer of beeswax. This changes the feel of the sculpture, and lifts the colour.

​

P5 FIRST GLANCE

edition of 8 Bronze  2001

Wooden original, covered with canvas painted in a thick impasto. The eyes are made using rolled-up canvas. The curve of the shoulder shows a new emphasis on the third dimension.

​

P6 STILL MOVING

edition of 8 Bronze      2001

A wooden skeleton covered with canvas and thick impasto paint, finished off with a black patina.

​

P7 HOLLOW

edition of 8 Bronze; some painted, some black patina 2001

“The negative space in a sculpture has as much meaning as the positive. But they are more difficult to make successful.” The round shape of the face is repeated in the portraits of 2002. From a wooden original.

​

P8 LEAN

edition of 8 Bronze, from plasticine   2001

The plasticine of the original melted in the heat, and was saved from puddling by its central wire armature. Paul froze it instantly, and dressed the figure in a pin stripe suit.

​

P9 GOOD BAD UGLY

edition of 8 / sets of 3  Bronze, painted & polished 2001

These capture Paul’s first painting depicting an exploration of the body, rather than the face alone. The painting was sold at his solo exhibition at the Bell-Roberts Gallery in CT in 2001. One set is painted as an exact replica of the original painting.

​

P10 WALK UNAFRAID

edition of 8 Painted Bronze    2001

This sculpture is based on a painting sold at the Bell-Roberts Gallery in Cape Town with the same title. One sculpture is painted exactly as the original painting. Working with plasticine allowed Paul to capture the crudeness that he envisaged. He dipped the wooden structure in wax to get the plasticine to stick. “…Trial and Error…”

​

P11 THE FIFTH MEMBER

edition of 8 Bronze from plaster    2002

This was inspired by the relief work of Marino Marini. It further solidifies the link between Paul’s paintings and his sculptures. A plaster copy of STILL STANDING was copied again and again, with its legs cut off, and placed to capture a ‘Boys in the Band’ feel, with member number five a little off to the right.

​

P12 INTO TOMORROW

edition of 8 Bronze from plaster and gypsum  2002

Paul sees this piece as a maquette for a public sculpture in a big space. He imagines people sitting at the feet of the two figures, or entering a building through their legs. This piece takes full advantage of the ‘add-on’ method that gypsum & plaster allow, as opposed to the ‘take-away’ method demanded by plasticine or clay blocks. He used a wooden armature, and built the sculpture up from that.

​

P13 – P21 THE ZANZIBAR SERIES   2002

edition of 8 Bronze from iron filing & gypsum composite on wire

This series is strongly influenced by a trip to Zanzibar.

“My wife and I stayed on a small Island called Chapwani, east of Tanzania and Zanzibar. Every morning and late afternoon, sailors with their ancient vessels (dhows) would sail past the island to destinations in the Indian Ocean. The way the sails were controlled fascinated me. The countless shapes of their wind-filled sails and rigging were etched out against the beautiful surroundings. I started drawing and reworking these images. Using the shapes, I turned them into abstract figures based on the human form. The idea of turning them into sculptures came later when I figured out that I could use iron rods to draw these shapes. The gaps are filled with a solid compound and this gives a fantastic balanced three-dimensional form with certain primitive qualities.  These forms provide endless viewpoints with inexhaustible and infinite possibilities for more sculptures.”

The primitive makeshift feel of the boats is carried through in the crude joining of the limbs to the trunk of the figure. The sculptures are not machined in the finish, and welding solders are deliberately left exposed.

“My work still maintains a strong focus on the line. With the latest sculptures I have managed to maintain that focus by constructing a wire web of iron rods to form the skeleton of the sculptures. This allows a soft controlled line. Light reveals the abstract forms through the solid mass between the wire boundaries.”

​

P22 WINDWARD - 2002

edition of 8 Bronze from single wire strand and iron filing & gypsum composite

Windward was worked from a single strand of wire – which Paul found while walking at De Hoop (Western Cape) - into the structure we see today. The figure is rounder and softer than many previous ones because Paul had no tools available at De Hoop. The extent to which he could work the wire was limited by its age and rusted frailty.  He was very taken with the softer end result.

* all dates mark the origination of the sculpture concerned.

Paper monster series

"No longer purely derived from his painting, his sculpture has become an independent journey into a universal language. Previously he made editions, but now Paul finds the momentary, ‘timeless’ aspect of one-off pieces more appealing. The fragility of materials like glue, paper, wax, things that do not last, metaphorically invoke their opposites: durability, stability. Negative spaces point to what exists, or is believed to exist, or is dreamed into existence" Antoinette du Plessis writes in the ‘Some strange alphabet’ exhibition catalogue

​

1. Solid outline

Painted bronze

Height 375mm

2008

Unique cast

​

2. Single tone

Painted bronze

Height 450mm

2008

Unique cast

​

3. Firm foundation

Painted bronze

Height 450mm

2008

Unique cast

​

4. High Position

Painted bronze

Height 445mm

2008

Artist Proof, edition of 8

For his 2007 exhibition ‘ Highly Charged’ at 34 LONG Fine Art in Cape Town, Paul created a small body of unique sculptures. He used polystyrene, cutting away and pasting on to create the desired forms, lines and figures. The pieces were cast in bronze and Paul painted them afterwards in his signature prime colours.

​

5. Point of view

Painted bronze

Height 730mm

2007

Unique cast

​

6. Eccentric

Painted bronze

Height 385mm

2007

Unique cast

​

7. In good spirits

Painted bronze

Height 705mm

2007

Unique cast

​

8. Substructure

Painted bronze

Height 505mm

2007

Unique cast

Paul sees many of his paintings as blueprints for his sculptures.  He often chooses to capture his paintings and the sculptures made from perishable materials in the durability of bronze. The development in technique of his sculptural work is very important to him. “Each piece stands on the shoulders of the previous one. The process is crucial”. The creation of each sculpture involves numerous steps; including origination, mould making, wax creation, casting and patination - amongst many others. It takes between 8 and 10 weeks to complete a sculpture.

​

P1  RALPH

edition of 1 Bronze from clay, unique cast  1998*

​

P2  LITTLE RALPH

edition of 8 Bronze from clay    1998

P2N LITTLE RALPH

edition of 8 Nickel with black patina   2000

Ralph personifies the portraits that Paul was painting in ‘98. During that period, Paul visited Paris and became fascinated by the patinas and methods of the Modern Artists. In the finish of Ralph he used only the sulphates that were available in the early 1900’s. The original mould was damaged in the casting process, so the Ralph exhibited here is a one off. But in 2002 he took a mould of the unique cast, and now there is an edition of  8. They have subtle differences from the unique cast, including shrinkage. The smaller moulds (P2 & P2N) were made to further explore the casting process. With one edition in bronze and one in nickel, Paul could examine the difference between two metals undergoing the same process.

​

P3 COME TOGETHER

edition of 4 Painted Bronze

This was chosen to immortalise Paul’s series of wooden sculptures in something more durable. “In working on this piece I imagined it exhibited in an outdoor environment. Casting ‘Come Together’  in bronze ensures the durability of the sculpture in all weather conditions.”

​

P4 STILL STANDING

edition of 9 Bronze from plasticine - black patina  2001

The shape of the sculpture is softened by applying a layer of beeswax. This changes the feel of the sculpture, and lifts the colour.

​

P5 FIRST GLANCE

edition of 8 Bronze      2001

Wooden original, covered with canvas painted in a thick impasto. The eyes are made using rolled-up canvas. The curve of the shoulder shows a new emphasis on the third dimension.

​

P6 STILL MOVING

edition of 8 Bronze      2001

A wooden skeleton covered with canvas and thick impasto paint, finished off with a black patina.

​

P7 HOLLOW

edition of 8 Bronze; some painted, some black patina 2001

“The negative space in a sculpture has as much meaning as the positive. But they are more difficult to make successful.” The round shape of the face is repeated in the portraits of 2002. From a wooden original.

​

P8 LEAN

edition of 8 Bronze, from plasticine   2001

The plasticine of the original melted in the heat, and was saved from puddling by its central wire armature. Paul froze it instantly, and dressed the figure in a pin stripe suit.

​

P9 GOOD BAD UGLY

edition of 8 / sets of 3  Bronze, painted & polished 2001

These capture Paul’s first painting depicting an exploration of the body, rather than the face alone. The painting was sold at his solo exhibition at the Bell-Roberts Gallery in CT in 2001. One set is painted as an exact replica of the original painting.

​

P10 WALK UNAFRAID

edition of 8 Painted Bronze    2001

This sculpture is based on a painting sold at the Bell-Roberts Gallery in Cape Town with the same title. One sculpture is painted exactly as the original painting. Working with plasticine allowed Paul to capture the crudeness that he envisaged. He dipped the wooden structure in wax to get the plasticine to stick. “…Trial and Error…”

​

P11 THE FIFTH MEMBER

edition of 8 Bronze from plaster    2002

This was inspired by the relief work of Marino Marini. It further solidifies the link between Paul’s paintings and his sculptures. A plaster copy of STILL STANDING was copied again and again, with its legs cut off, and placed to capture a ‘Boys in the Band’ feel, with member number five a little off to the right.

​

P12 INTO TOMORROW

edition of 8 Bronze from plaster and gypsum  2002

Paul sees this piece as a maquette for a public sculpture in a big space. He imagines people sitting at the feet of the two figures, or entering a building through their legs. This piece takes full advantage of the ‘add-on’ method that gypsum & plaster allow, as opposed to the ‘take-away’ method demanded by plasticine or clay blocks. He used a wooden armature, and built the sculpture up from that.

​

P13 – P21 THE ZANZIBAR SERIES   2002

edition of 8 Bronze from iron filing & gypsum composite on wire

This series is strongly influenced by a trip to Zanzibar.

“My wife and I stayed on a small Island called Chapwani, east of Tanzania and Zanzibar. Every morning and late afternoon, sailors with their ancient vessels (dhows) would sail past the island to destinations in the Indian Ocean. The way the sails were controlled fascinated me. The countless shapes of their wind-filled sails and rigging were etched out against the beautiful surroundings. I started drawing and reworking these images. Using the shapes, I turned them into abstract figures based on the human form. The idea of turning them into sculptures came later when I figured out that I could use iron rods to draw these shapes. The gaps are filled with a solid compound and this gives a fantastic balanced three-dimensional form with certain primitive qualities.  These forms provide endless viewpoints with inexhaustible and infinite possibilities for more sculptures.”

The primitive makeshift feel of the boats is carried through in the crude joining of the limbs to the trunk of the figure. The sculptures are not machined in the finish, and welding soulders are deliberately left exposed.

“My work still maintains a strong focus on the line. With the latest sculptures I have managed to maintain that focus by constructing a wire web of iron rods to form the skeleton of the sculptures. This allows a soft controlled line. Light reveals the abstract forms through the solid mass between the wire boundaries.”

​

P22 WINDWARD - 2002

edition of 8

Bronze from single wire strand and iron filing & gypsum composite

Windward was worked from a single strand of wire – which Paul found while walking at De Hoop (Western Cape) - into the structure we see today. The figure is rounder and softer than many previous ones because Paul had no tools available at De Hoop. The extent to which he could work the wire was limited by its age and rusted frailty.  He was very taken with the softer end result.

* all dates mark the origination of the sculpture concerned.

Paper monster series

"No longer purely derived from his painting, his sculpture has become an independent journey into a universal language. Previously he made editions, but now Paul finds the momentary, ‘timeless’ aspect of one-off pieces more appealing. The fragility of materials like glue, paper, wax, things that do not last, metaphorically invoke their opposites: durability, stability. Negative spaces point to what exists, or is believed to exist, or is dreamed into existence" Antoinette du Plessis writes in the ‘Some strange alphabet’ exhibition catalogue

​

                                                1. Solid outline

                                                    Painted bronze

                                                    Height 375mm

                                                    2008

                                                    Unique cast

​

                                                 2. Single tone

                                                     Painted bronze

                                                     Height 450mm

                                                     2008

                                                     Unique cast

​

                                                 3. Firm foundation

                                                     Painted bronze

                                                     Height 450mm

                                                     2008

                                                     Unique cast

​

                                                 4. High Position

                                                     Painted bronze

                                                     Height 445mm

                                                     2008

                                                     Artist Proof,

                                                     edition of 8

For his 2007 exhibition ‘ Highly Charged’ at 34 LONG Fine Art in Cape Town, Paul created a small body of unique sculptures. He used polystyrene, cutting away and pasting on to create the desired forms, lines and figures. The pieces were cast in bronze and Paul painted them afterwards in his signature prime colours.

​

                                                 5. Point of view

                                                     Painted bronze

                                                     Height 730mm

                                                     2007

                                                     Unique cast

​

                                                 6. Eccentric

                                                     Painted bronze

                                                     Height 385mm

                                                     2007

                                                     Unique cast

​

                                                  7. In good spirits

                                                      Painted bronze

                                                      Height 705mm

                                                      2007

                                                      Unique cast

​

                                                 8. Substructure

                                                     Painted bronze

                                                     Height 505mm

                                                     2007

                                                    Unique cast

Paul sees many of his paintings as blueprints for his sculptures.  He often chooses to capture his paintings and the sculptures made from perishable materials in the durability of bronze. The development in technique of his sculptural work is very important to him. “Each piece stands on the shoulders of the previous one. The process is crucial”. The creation of each sculpture involves numerous steps; including origination, mould making, wax creation, casting and patination - amongst many others. It takes between 8 and 10 weeks to complete a sculpture.

​

P1  RALPH

edition of 1 Bronze from clay, unique cast  1998*

​

P2  LITTLE RALPH

edition of 8 Bronze from clay  1998

P2N LITTLE RALPH

edition of 8 Nickel with black patina 2000

Ralph personifies the portraits that Paul was painting in ‘98. During that period, Paul visited Paris and became fascinated by the patinas and methods of the Modern Artists. In the finish of Ralph he used only the sulphates that were available in the early 1900’s. The original mould was damaged in the casting process, so the Ralph exhibited here is a one off. But in 2002 he took a mould of the unique cast, and now there is an edition of  8. They have subtle differences from the unique cast, including shrinkage. The smaller moulds (P2 & P2N) were made to further explore the casting process. With one edition in bronze and one in nickel, Paul could examine the difference between two metals undergoing the same process.

​

P3 COME TOGETHER

edition of 4 Painted Bronze

This was chosen to immortalise Paul’s series of wooden sculptures in something more durable. “In working on this piece I imagined it exhibited in an outdoor environment. Casting ‘Come Together’  in bronze ensures the durability of the sculpture in all weather conditions.”

​

P4 STILL STANDING

edition of 9 Bronze from plasticine - black patina  2001

The shape of the sculpture is softened by applying a layer of beeswax. This changes the feel of the sculpture, and lifts the colour.

​

P5 FIRST GLANCE

edition of 8 Bronze 2001

Wooden original, covered with canvas painted in a thick impasto. The eyes are made using rolled-up canvas. The curve of the shoulder shows a new emphasis on the third dimension.

​

P6 STILL MOVING

edition of 8 Bronze 2001

A wooden skeleton covered with canvas and thick impasto paint, finished off with a black patina.

​

P7 HOLLOW

edition of 8 Bronze; some painted, some black patina 2001

“The negative space in a sculpture has as much meaning as the positive. But they are more difficult to make successful.” The round shape of the face is repeated in the portraits of 2002. From a wooden original.

​

P8 LEAN

edition of 8 Bronze, from plasticine 2001

The plasticine of the original melted in the heat, and was saved from puddling by its central wire armature. Paul froze it instantly, and dressed the figure in a pin stripe suit.

​

P9 GOOD BAD UGLY

edition of 8 / sets of 3  Bronze, painted & polished 2001

These capture Paul’s first painting depicting an exploration of the body, rather than the face alone. The painting was sold at his solo exhibition at the Bell-Roberts Gallery in CT in 2001. One set is painted as an exact replica of the original painting.

​

P10 WALK UNAFRAID

edition of 8 Painted Bronze 2001

This sculpture is based on a painting sold at the Bell-Roberts Gallery in Cape Town with the same title. One sculpture is painted exactly as the original painting. Working with plasticine allowed Paul to capture the crudeness that he envisaged. He dipped the wooden structure in wax to get the plasticine to stick. “…Trial and Error…”

​

P11 THE FIFTH MEMBER

edition of 8 Bronze from plaster 2002

This was inspired by the relief work of Marino Marini. It further solidifies the link between Paul’s paintings and his sculptures. A plaster copy of STILL STANDING was copied again and again, with its legs cut off, and placed to capture a ‘Boys in the Band’ feel, with member number five a little off to the right.

​

P12 INTO TOMORROW

edition of 8 Bronze from plaster and gypsum  2002

Paul sees this piece as a maquette for a public sculpture in a big space. He imagines people sitting at the feet of the two figures, or entering a building through their legs. This piece takes full advantage of the ‘add-on’ method that gypsum & plaster allow, as opposed to the ‘take-away’ method demanded by plasticine or clay blocks. He used a wooden armature, and built the sculpture up from that.

​

P13 – P21 THE ZANZIBAR SERIES   2002

edition of 8 Bronze from iron filing & gypsum composite on wire

This series is strongly influenced by a trip to Zanzibar.

“My wife and I stayed on a small Island called Chapwani, east of Tanzania and Zanzibar. Every morning and late afternoon, sailors with their ancient vessels (dhows) would sail past the island to destinations in the Indian Ocean. The way the sails were controlled fascinated me. The countless shapes of their wind-filled sails and rigging were etched out against the beautiful surroundings. I started drawing and reworking these images. Using the shapes, I turned them into abstract figures based on the human form. The idea of turning them into sculptures came later when I figured out that I could use iron rods to draw these shapes. The gaps are filled with a solid compound and this gives a fantastic balanced three-dimensional form with certain primitive qualities.  These forms provide endless viewpoints with inexhaustible and infinite possibilities for more sculptures.”

The primitive makeshift feel of the boats is carried through in the crude joining of the limbs to the trunk of the figure. The sculptures are not machined in the finish, and welding soulders are deliberately left exposed.

“My work still maintains a strong focus on the line. With the latest sculptures I have managed to maintain that focus by constructing a wire web of iron rods to form the skeleton of the sculptures. This allows a soft controlled line. Light reveals the abstract forms through the solid mass between the wire boundaries.”

​

P22 WINDWARD - 2002

edition of 8 Bronze from single wire strand and iron filing & gypsum composite

Windward was worked from a single strand of wire – which Paul found while walking at De Hoop (Western Cape) - into the structure we see today. The figure is rounder and softer than many previous ones because Paul had no tools available at De Hoop. The extent to which he could work the wire was limited by its age and rusted frailty.  He was very taken with the softer end result.

* all dates mark the origination of the sculpture concerned.

Paper monster series

"No longer purely derived from his painting, his sculpture has become an independent journey into a universal language. Previously he made editions, but now Paul finds the momentary, ‘timeless’ aspect of one-off pieces more appealing. The fragility of materials like glue, paper, wax, things that do not last, metaphorically invoke their opposites: durability, stability. Negative spaces point to what exists, or is believed to exist, or is dreamed into existence" Antoinette du Plessis writes in the ‘Some strange alphabet’ exhibition catalogue

​

1. Solid outline

Painted bronze

Height 375mm

2008

Unique cast

​

2. Single tone

Painted bronze

Height 450mm

2008

Unique cast

​

3. Firm foundation

Painted bronze

Height 450mm

2008

Unique cast

​

4. High Position

Painted bronze

Height 445mm

2008

Artist Proof, edition of 8

For his 2007 exhibition ‘ Highly Charged’ at 34 LONG Fine Art in Cape Town, Paul created a small body of unique sculptures. He used polystyrene, cutting away and pasting on to create the desired forms, lines and figures. The pieces were cast in bronze and Paul painted them afterwards in his signature prime colours.

​

5. Point of view

Painted bronze

Height 730mm

2007

Unique cast

​

6. Eccentric

Painted bronze

Height 385mm

2007

Unique cast

​

7. In good spirits

Painted bronze

Height 705mm

2007

Unique cast

​

8. Substructure

Painted bronze

Height 505mm

2007

Unique cast