A skilled fine artist who dynamically fuses painting and photography, Paul Robinson aka LUAP, born in Grimsby in 1982, is fast gaining critical recognition and a celebrity following for his exciting work.
Working across various mediums his work hints at abstract expressionism infused with the explosive energy and bold colour of Pop and Urban Art. Exploring existential subjects within a contemporary feel his work stands alone in its composition and provoking content and subject matter.
“The complexity of Robinson’s imagery and overlaying of pattern has been informed by the work of Robert Rauschenberg. Robinson paints a world, which joins Christopher Wool’s fabric paintings with a 1970’s Peter Phillips pop landscape. These images are reminiscence of dream sequences from 1960’s films; a drug trip depicted in solarisation photography where the image recorded is wholly or partially reversed in tone.” Martin Maloney
His most iconic series depicts a pink teddy bear come-to-life and placed in the real world acting as a metaphor for discovery and exploration. The costumed figure – a striking motif in his work – exists between reality and make-believe, youthful innocence and corruption, leading a lifestyle that looks simultaneously enviable and questionable.
Robinson sells and exhibits his work globally, highlights include London, New York, Dubai, Hong Kong & Berlin. He has exhibited alongside internationally renowned artists including Picasso, Banksy, Warhol & Hirst at Andipa Gallery Knightsbridge and created large bespoke artworks for exclusive London members club, Home House. A Pink Bear print recently sold for three times the listed price at Christie’s on behalf of the Terrence Higgins Trust.
Self-taught or art school?
I went to art school – it’s was a strong foundation as I learnt a large range of techniques as well art history and theory. But a lot of the study at art school was self-directed. I believe each artist needs to find their own voice and visual language through self-exploration and learning and developing new and unique techniques through trial and error. I think off to as inventing my own language.
If you could own one work of art what would it be?
It would be Max Ernst’s “Attirement of the Bride” (La Toilette de la Mariée) at the Peggy Guggenheim Collection in Venice. It is such a haunting and wonderful painting. It also happens to be in one of my favourite museums, in one of my favourite cities in the world. So maybe I could own the work and the museum too – if we are talking about what if…
How would you describe your style?
My paintings are fusion between abstract expressionism and photorealism, infused with the explosive energy and bold colour of Pop and Urban Art. All these elements come together in a melting pot of techniques to create a seamless image on the canvas.
Can you tell us about your artistic process?
There are several ways I start my works, and this varies from piece to piece.
I travel and take photos – some scenes are stumbled upon, some are sought out, and others are meticulously choreographed.
I take photos in my East London photographic studio based on a concept I have developed.
I composite images I have taken to create something new – like a collage.
What’s important to me is that I capture everything myself, rather than using found images. Some images work well as photos in their own right, whereas others are better suited to being transformed into a painting. They have different qualities. A great photo might be a bad painting and vice versa.
Once I have the images they may sit on my hard drive until a feeling or mood inspires an idea or narrative that strikes a chord with me. This is where I feel the work takes on life and the process of painting begins.
Many layers of paint are built up to create the abstract backgrounds, this often takes months – I call it artificial decay. I then paint onto this surface with the scenes and figures in the photographs – again mixing expressionist marks with realism. It’s a long process but I think it works very well.
Is narrative important within your work?
I believe narrative is very important. Sure, the work can look aesthetically good without it, but the narrative is what provides depth and purpose to the work. After all what is life without a narrative?
Who are your favourite artists and why?
Koons, Warhol, Bacon, Doig, Yuskavage, Wool, Hockney, Rauschenberg, Oldenburg, Kuniyoshi.
Too many artists and too many reasons to list – but each artist I admire feels unique and has their own voice and story they are trying to tell.
What or who inspires your art?
Travel
Moods
Experiences
Current events
People
Life
I like to let it all collide from different angles and then pull it all together into something new. Some of the best ideas come from faraway places in the mind when thinking of something completely different altogether. Like when we dream at night and abstract thoughts mould to form something new and interesting.
A strong theme and inspiration in my work have been loneliness and isolation. I explore this in my work through my central character, The Pink Bear. The Pink Bear surfaced from a happy childhood memory whilst a dark shadow persistently clouded my mind, bringing moments of joy and lightness, acting as a guiding light by bringing a sense of optimism and balance into my life.
Travel is also important – Travel was an unconscious therapy, but now has become a conscious one, I seek adventure and discovery as a way of maintaining a balance in my life and use this as inspiration for my work.
Where’s your studio and what’s it like?
In East London – I have one space for doing photography and my photo editing which is super clean and another which is where I paint, it’s clean but everything is covered in paint, and I mean everything. My laptop blends into my desk like it has paint camouflage.
Do you have any studio rituals?
Cleaning – I’m very tidy. Filling the jug up with fresh water.
What are you working on now?
Over the last 18 months, I have created several installations, artworks, and murals on the streets, making art accessible throughout this period of transformation and change brought on by the global pandemic. The work produced ranges from large painted murals, taking over digital displays, vinyl wraps, and now on New Bond Street a spin on a shop window display with my Oil Paintings and Sculptures.
In the latest piece called ‘Time Can Escape You’ – The flowers in the work act as a metaphor for human life. Our life only blooms for a short moment of time on this planet – it’s a beautiful journey full of colour and diversity so we must make the most of the time we have here and not let time escape us and waste it. The work is not about loss – but instead is about leaving a trail of colour, joy, and happiness as we travel on our personal journey.
Where can we buy your work?
My smaller prints and collectibles can be bought online at https://store.luapstudios.co.uk/
