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Considering the concepts of time, layering  and memory, capturing these in paint as a biographical record

Paul Morrow’s approach is in part informed by being the son of the carpenter. Paul starts each painting by constructing the boards on which he paints. This ritualistic approach to the construction of the boards and the inherent qualities of the wood are fully included into the process.  Here the qualities of the wood are both fully realised, honoured and become part of the process of the painting.

The physical act of painting is anchored in the moment and the immediacy of the gesture. The formative stages are developed as reference to a sense of place, no preparatory work is undertaken. The work calls on fragments of memory; shapes, colours and forms are generated through a series of gestures that can be considered automatic and visceral in nature. The marks are applied and then considered, an intervention is then made to keep or remove the marks. The compositions unfold over a period of time through this process of excavation; in a manner that could be described as an intuitive, a dialectical conversation mediated by paint. 

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