Andrew Paul’s presence in the art world is marked by notable acknowledgments, from the inclusion of his artwork in The Oxford Encyclopedia of the Bible and the Arts to the cover of a scholarly book by Professor Clara Joseph. His painting “Mighty My Saviour” found itself in an illustrious company, listed alongside a work by the renowned MF Husain. However, these accolades barely scratch the surface of Andrew’s journey as an artist, which is rich with tales that surpass conventional success.
The artist recollects how his work caught the attention of a psychology professor in the US through a simple Facebook post. The professor, who suffered from multiple sclerosis, described Andrew’s paintings as “medicine,” highlighting the impact of his art on the wellbeing of its viewers. These interactions are just a glimpse into how Andrew’s work resonates on a profound psychological level with admirers.
Another such story unfolded when Andrew, in a conversation with his sister, predicted that his paintings would someday attract a wealthy buyer. As fate would have it, Indian billionaire Ajay Kalsi later purchased his artwork, affirming the artist’s belief in the power of manifestation—a concept he wasn’t completely aware of until he recalled the principles of the book ‘The Secret.’
Amidst sharing these anecdotes during a tour of his final solo exhibition in India, “Transcending Surfaces” at Karnataka Chitrakala Parishath, Andrew’s focus remained steadfast on his artwork. Despite his imminent move to London, it was the art itself that he was most eager to discuss. For Andrew, it’s about the work, not the story behind it.
One of his pieces, “Memory of the Pandemic,” featuring vertical frames of red paper marred by horizontal scratches, reflects a time of global upheaval. The red paper is symbolic, representing flesh in its many interpretations—not merely pain but also life and its fragility. During lockdown, prevented from returning to London, he faced the loss of his dear ones, including his father-in-law, to COVID-19. Each night, in an act reminiscent of a prisoner counting days, Andrew would score the red surface with a surgical blade, unsure of the pandemic’s end.
While such a ritual may appear therapeutic, Andrew distinguishes his artistic process from art therapy. Both are uncontrollable in certain aspects, but therapeutic art is an impulsive expression of inner turmoil, whereas Andrew’s approach is more deliberate. His process involves planning through tools and techniques, yet the outcome continues to surprise him.
“Transcending Surfaces” offers more than just an art exhibition—it is an invitation to embark on a visual journey that defies traditional boundaries. The gallery space is transformed into a realm of contemplation, showcasing an interplay of paintings, video essays, and found objects. Andrew’s art delves into themes of temporal flow, impermanence, and the poignant instances defining our lives.
The artist aims to challenge perceptions of seeing, stating, “The exploration of my practice is about questioning and reconstructing the ways of ‘seeing.'” He invites the viewer to immerse themselves in a conversation with the artwork, be it through painting, photography, drawing or film, and to experience its layers of color, texture, and evolving imagery. Each material is handpicked for its textural and sensory properties.
In a world where capturing moments on smartphones supersedes the experience itself, Andrew insists that his audience refrains from photographing his work. He implores them to truly engage, explore, and listen with their eyes.
Art enthusiasts can experience “Transcending Surfaces” by Andrew Paul at the Karnataka Chitrakala Parishath until May 15, from 10.30 am to 7 pm daily, in Gallery 1 and 2. The exhibition stands as a testament to the artist’s belief in the immeasurable potential of art to explore and embrace the intangible aspects of human existence.
