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I wonder you

Oil on canvas

80cm x 80cm



  • A Million Reasons

    Oil on canvas

    163cm x 144cm



  • The girl in the car

    Oil on canvas

    110cm x 150cm

    Sold

     


  • Secret Door

    Oil on canvas

    150 x 120cm


  • Never done nothing like that before

    Oil on canvas

    160 x 160cm



  • Winning a losing game

    Oil on canvas

    41cm x 36cm

    Sold


  • Pickin' it up

    Oil on canvas

    100cm x 100cm

     


  • My very best

    Oil on canvas

    50cm x 50cm

    Sold

     


  • The Two of Us

    Oil on canvas

    190 x 140cm

     


  • Driving me crazy

    Oil on canvas

    190 x 140cm



  • You Make it Easy

    Oil on canvas

    120cm x 90cm



  • Say it again

    Acrylic on paper

    60cm x 85cm



  • When the heat dies down

    Oil on canvas

    80cm x 80cm

     


  • Any minute now

    Oil on canvas

    140cm x 140cm



  • Going nowhere in a hurry

    Oil on canvas

    70cm x 60cm


Paul Lemmon - sold work

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Paul is a self-taught painter who studied graphic design and worked as a designer before committing to painting full-time. He works from his own photography acquired whilst soaking up the culture and colour of city life, and considers this to be an integral part of his practice. Once the images and compositions have been established, Paul works with the oil paint very rapidly in order to preserve and intensify the spontaneity inherent in the original image – seeking to heighten the energy and emotion of the captured moment through vigorous brushwork, vivid colour and strong contrast. His work is characterised by sharp, unorthodox angles and ruthless cropping which result in paintings that are laced with a seductive cinematic urgency.

Paul’s subject matter and approach are inspired by the work of photographer William Eggleston with his ‘snap-shot aesthetic’, and by nineteenth century French writer Charles Baudelaire and his descriptions of excursions through the Parisian bars and streets of his time. This approach leaves a distinctively voyeuristic impression on Paul’s work, reflecting contemporary obsessions with the hidden camera and fly-on-the-wall observation. Also, by omitting the specifics of environment and identity through the heavy crop and graphic composition, Paul aims to engage the viewer in an even more intimate but open-ended way: ‘… what interests me most,’ he asserts, ‘is conveying atmosphere and mood rather than individual people or locations. I want the viewer to feel immersed in my paintings, to feel a sense of physical presence and to be left to imagine their own characters and narratives in what they’re seeing.’

Make an enquiry about any of Paul's work.

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