Spotlight Interview with Paul Kingsley-Squire discussing his abstract landscapes and how he searches for a state of peace and serenity in his works …

Thank you for speaking to us about your art journey. Where did it all begin for you?
A long long time ago…As a young kid I read and collected the Asterix books, and avidly read Marvel comics, especially my favourite, Spiderman which was published in the UK in a black and white weekly issue. I would spend hours drawing and copying those superheroes. The CGI movies of today were distant dreams. So art was always around, and my best subject at school, although I didn’t go to do a foundation or anything, as I was distracted by another passion of mine at the time – music.

From who or from where do you draw inspiration for your work?
In my abstracted landscapes, I’m searching for a state of peace and serenity, landscapes that exist somewhere deep in my psyche against the constant flux of modern life. They are explorations of space, light and magic in the midst of chaos, and hopefully transport the viewer to an otherworld that exists on some ethereal plane of existence. The works have a dreamlike quality and I endeavour to have some kind of focal point, where the eye travels towards a light source that in turn radiates through the “landscape” itself.

Do you like to experiment with what you use to create art and how would you describe your artistic style?
Yes, as well as the abstract landscapes I have also series of figurative works in the “Exiles In Eden”, “Vanguard” and “The Mechanical Paradise”. These are surrealistic pieces which combine elements around certain themes that have always fascinated me such as science fiction and esotericism. In 2020 I started using a traditional technique which involves an underpainting in burnt umber, burnt Sienna and white oils, with overlaid glazes of transparent colour.

Why are your designs so different to other artists within the industry?
I think because I am self taught I have developed several methods that are fairly unique. I may study other artists work to figure out how they might have achieved something but it is mainly a case of long hours in the studio, just seeing what works.

How do you stay relevant and current in a world full of creatives?
I think you just have to do what you’re interested in. Following trends, or worrying about what other people are doing just won’t get you anywhere, so hopefully by being true to yourself, you will find your own kind of relevancy.

How has social media impacted on you as judging by your online presence you seem to embrace this?
I have a love / hate relationship with it. On the one hand it has bought me lot’s of new connections and collectors, and is obviously a great way of getting your work seen, on the other hand I dislike “networking” on the whole, and struggle to constantly feed the algorithms that seem to dictate what is “relevant”.

How has your brand grown to where it is now? What has contributed to your success?
I think any of my success comes down to one thing. Perseverance. If you look through the history of art, the ones that “succeed” never really stop, so that’s my intention. Success is really just being able to keep doing it.

Have you worked with any galleries or brands or completed any important commissions you can share with us?
The best gallery I have worked with so far was The Underdog Gallery, which was based in London Bridge. Unfortunately it closed at the beginning of the pandemic but it was one of the last London galleries that combined art events and exhibitions with live music. It had an eclectic, edgy, bohemian feel and I’m not sure if something like that can exist again in London ?

Which projects are you really excited about for 2021 and are there any future plans you can share with us?
I’ve been working on a lot of works in “The World Beyond” series of abstract landscapes and continuing some figurative works. In 2022 I’ll be setting up some new events and exhibitions and think it could be a great year for the arts…

See a selection of work from Paul Kingsley-Squire, click HERE

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