Paul is Head of Sculpture and Environmental Art and in addition to
management, is actively involved in a range of areas of research,
learning and teaching and academic development. Paul was formerly Joint
Course Coordinator of GSA’s New Media component of the Masters in Art,
Design and Architecture in Education course, and was elected member of
Academic Council and of the Board of Governors for the Glasgow School of
Art. (2005/9) He has taught widely, nationally and internationally,
including External Examining for the BA (Hons) Fine Art University of
the Highlands and Islands and BA (Hons) Sculpture, Wimbledon College of
Art, as well as at the Chinese Academy of Fine Arts (CAFA), Beijing, China as
programme leader for the joint Fine Art GSA/CAFA Foundation course and
as Visiting lecturer MFA Sculpture programme, Virginia Commonwealth,
University, Richmond USA, Faculty of Sculpture Georgia State University,
Atlanta, USA and Toledo School of Art, Ohio, USA.
Paul’s
recent work investigates Sculpture’s relations to the virtual, through
both practice led and pedagogical research, in particular how
‘traditional’ and ‘new’ technologies extend possibilities within a
making practice. This involves the use and application of new
technologies in the development of ideas from 2-dimensional virtual
prototypes or samples into large-scale constructions and publicly sited
works, such as for KAIR, Kamiyama, Japan, where he was amongst the first group of Artists in Residence, as well as the City of Atlanta’s Art in Odd Places programme.
Most recently Paul was Lead Artist CENCIA (The Center for Collaborative and International Arts), working on Cultural Intersections, a collaborative public art project
in collaboration with George Beasley Emeritus Professor of Sculpture
Georgia State University, Atlanta. CENCIA drew on a diversity of
methods, from visual documentation, weblog, speculative model making and
interviews to lay out a process for collaboration and consultation and
culminated in an Exhibition of
the research. Published writings look at studio practice and
teaching, in particular how the real and the virtual support the needs
of individuals as makers, with virtual space offering both a site and
process for the production of work and include Creativity and risk-taking: a view from the studio,
co-authored with Justin Carter and Fiona Dean, in Ball, P (ed).
Assessing creativity in design: emerging themes for engineering. UK: HEA
Engineering subject centre and Making the virtual real: the VLE as a context for production in
fine art learning and teaching studio practice, in Designs on e-learning 2nd International conference on teaching and learning with technology, London, UK.
