Pauls'paintings are executed with the canvas lying flat on the floor, built up in rapid layers of vigorous, bold strokes of oil paint. The almost cinematic compositions are made-up of a mixture of his own photography and movie stills as source material and are characterised by close cropping, vivid colour, and movement. The absence of some facial features and identifying details generalise the images and enable the viewer to imagine themselves as part of the scene itself rather than as a cold observer, leading them further into the painting to follow its surface and light.
The resulting ‘snap-shot aesthetic’ explores the presentation of leisure-lifestyle in the online age. But unlike carefully constructed selfies and social media posts, these paintings refer to the era of the stand-alone camera, either film, digital or disposable. A time when careless snaps would be fired off at any number of occasions: weddings, parties, beach trips, holidays and were intended as a private celebration or record rather than public performance of life. The paintings themselves are intended to embody this immediacy and to appear and feel carefree, as though they simply came into being created in the blink of an eye.