paul rafferty
subjects are very traditional – sun-bleached vistas, vases of hydrangeas and the like. “I don’t want to shock,” he says, simply. “When you try
to be fashionable, you end up being way out of fashion. I think it’s sad that painting can be derided for being old-fashioned. It’s important that there’s a mix of art. Almost everything has its place and it doesn’t all have to be cutting edge. I don’t want to sound defensive but painting is not a one-trick pony.” Painting still life, portrait and landscape oil paintings with
equal ease and pleasure, the lynchpin of all Paul’s work is the light: “The subject matter is incidental to me – the way the light dances is what catches my attention.” Despite living in the South of France with his wife and
children, the family have kept their Los Angeles base and Paul – who paints predominantly en plein air – returns there frequently. While he acknowledges that he often feels the ‘grass is always greener’, his choice of location is governed by how light behaves in specific places and the effect this will have on his work: “David Hockney loved Los Angeles because of the much harder and more brilliant light, whereas Venice is a peninsular and light bounces everywhere. It’s the same with The Hamptons in New York – it’s on a peninsular too, surrounded by water. I like that variety.” Wherever Paul paints, he always works quickly because he
knows the light can change at any moment. He takes a rucksack and tripod with him and can set up in seconds. He likes the pressure that comes with painting on location, because there’s no time for “naval-gazing”, which he finds isolating and boring, even with such a picturesque studio.
ABOVE Edward Seago’s Studio, Dutch House, oil on canvas board, 51x76cm RIGHT Cromer Pier, Last Days of Summer, oil on canvas, 114x147cm OPPOSITE PAGE Paul in his Mougins studio and (bottom right) Embankment, Cheyne Walk, oil on canvas, 76x101cm
You’d be forgiven for thinking there has never been a bump
in the road for Paul, but it’s not the case. His work in Los Angeles in the early days was “sporadic, like my finances” and, although he often painted murals for some of Hollywood’s major stars (he won’t say who – “namedropping’s a bit tacky”), it was only a stepping-stone to the career he wanted. This month, Paul is set to have his first exhibition at The
Portland Gallery in London, something that did not come easily either. “I actually approached them and they turned me down twice, maybe three times,” he admits, explaining
> Artists & Illustrators 15
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84