Lamda photographic print, 100cm x 75cm
Richard Paul does not produce catalogue photographs per se. What he does is exploit their format (and possibility) for his own ends.
Via 'pairings' - moot combinations set against retrogressive commercial colour scheme backdrops - Paul establishes object conjunctions. These conjunctions (like the mode of mediation via which they are presented) are subject to heavy conceptual taxation. For example, still life painting, the allegorical pretensions of which his images stand as a sort of coda to, is an ever-present in these conjunctions. Analogous connections on an anthropological level between catalogue photography and the more salubrious world of artefact or museum photography are also apparent. Deadpan wit is another dry touching point; indeed very little is 'immediate' in these pairings.
I was a teenage hand model too additionally features a number of three-dimensional object works that attempt to transfer the conditions of display informing Paul's photographic images into a new sculptural mode.
Thus the confidence or ubiquity of the catalogue format is being exploited by Paul in a fight against the implausibility and conceptual rigour of the conjunctions that are proposed both in his photographs and each of his new sculptural works.
(Paul Pieroni, Seventeen Gallery, London)