Paul Ayers studied Fine Art at Falmouth College of Arts in the 1990s. He has exhibited his work in the Royal Cornwall Museum, Falmouth Art Gallery, the Discerning Eye Exhibition, the Royal College of Art, Victoria Art Gallery, Bath and the Royal West of England Academy of Art, Bristol. He is primarily a painter, although also explores ideas through printmaking and alternative photography (screenprinting, collagraphy and cyanotype). In his painting practise he explores the physical qualities of oil paint and the myriad variety of textures, light effects, colour and illusions that can be achieved with them on a flat surface. So, while his work represents objects in the real world, he strives to give the painted surfaces of his works an intensity and physical presence.
He uses photographic references (his own, sometimes found, imagery) to construct imaginary places that could be real but have a heightened sense of emotion and atmosphere. Influences include Peter Doig, Peter Blake and David Hockney.
He is particularly interested in the idea of juxtaposition – such as setting artificial, man-made structures and elements against natural landscapes so that objects seem out of place and “surreal”. His recent “Fighters” series is based upon archive photographs of late 19th/early 20th Century boxers. They explore the juxtaposition of typically “masculine” forms with “feminine” patterns.
Self-taught or art school?
I studied Fine Art at Falmouth College of Arts (now Falmouth University) in the 1990s and also completed my Masters in History of Modern Art and Design there.
If you could own one work of art what would it be?
I’d love to own the painting ‘Architect’s Home in the Ravine” by Peter Doig, a painter I have admired since my art school days.
How would you describe your style?
In my painting practice, I love the physical qualities of paint (particularly oil paint) and the myriad of textures, light effects, colour and illusions that you can achieve with them on a flat surface. So, while my work represents objects in the real world, I strive to give the painted surfaces of my works an intensity and physical presence. I use photographic references (usually my own, sometimes found) to construct imaginary places that could be real, but have a heightened sense of emotion and atmosphere. I am particularly interested in the idea of juxtaposition – such as setting artificial, man-made structures and elements against natural landscapes so that objects seem out of place and “surreal”. A recent series of paintings and mixed-media cyanotypes reference promotional photographs of late 19th and early 20th century boxers. This “Fighters” series explores the juxtaposition of strong “masculinity” against “feminine” natural forms.
Can you tell us about your artistic process?
My work usually begins with a photographic image (either my own or found) that I may have had in a sketchbook for years or just days and which resonates with me for whatever reason, at that particular time. Most recently these images have been early 20th-century promotional photographs of boxers. With these images, I begin by creating cyanotypes (an alternative photography technique from the Victorian era). I turn the blue cyanotypes into sepia tones by soaking them in tea and then work back into them with bleach, coloured pencils, watercolours and oils, transforming the original photographic source into something unique by adding new elements such as floral patterns and tattoos. In my painting practice, I also use a mixture of photographic references and combine them to create an imaginary scene that resonates with me, often juxtaposing several images, taken from their original context to create a ‘surreal’ scene. The final image often emerges slowly through experimenting with the materials and mark making, with many reworkings and layers of paint.
Is narrative important in your work?
Narrative is important in my work in the sense that I want the viewer to conjure up a story in their own heads as they look at the work, without me dictating or illustrating it to them. I guess I want my work to be metaphorical and evoke memories, experiences and emotions that are individual to each viewer. This is why I work figuratively, although I want the physical qualities of the materials and surfaces to have a life of their own.
Who are your favourite artists and why?
My favourite artists are figurative painters such as Peter Doig and David Hockney. I love Peter Doig’s work because of how he evokes mysterious and timeless places whilst creating a beautiful physicality to the paint – its layers of glazes, dribbles and impasto. With Hockney, I think it’s how he uses colour so freshly and confidently to create such striking paintings, even into his 80’s.
Where’s your studio and what’s it like?
My studio is in a double-glazed log cabin that I built in my back garden in Bristol. It’s a fairly small space (10 square metres), so I have to be pretty well organised to have enough space to work on larger paintings. It’s well insulated so it can get pretty hot in the summer (I’ve recorded a maximum of 38 degrees once!)
Do you have any studio rituals?
I like to be able to pick up a brush straight away and use paint that has been on the palette for a while, so I have to dig underneath the dry skin and find the fresh paint. This gets me warmed up, rather than have to mix a new colour. I often need to sit and stare at the painting for a while to let my imagination run with ideas and possibilities. Putting on Spotify and listening to a playlist or a podcast in the background breaks the intensity of just being with my own thoughts, although I often work in silence as well.
What are you currently working on?
I’m currently working on a fairly large oil painting, creating an imaginary landscape of characters – both human and animal – from a high viewpoint. The idea driving it is one of an assortment of characters wandering about this big “stage-set” doing their various random things. The quote from Shakespeare’s “As You Like It” – “All the world’s a stage, And all the men and women merely players; … And one man in his time plays many parts, His acts being seven ages.” – is in my mind at the moment.
Where can we buy your art?
My work can be bought through my website – www.paulayersart.studio. It’s also available on Saatchi art and my Instagram is – paul_ayers_artist
