John Paul received his BFA in Printmaking from Rhode Island College and his MFA from The Ohio State University in 2012. During the summer of 2013, he was fortunate enough intern at Island Press in St. Louis printing editions for renowned artists Ann Hamilton and Trenton Doyle Hancock. Since then, John Paul has held several academic positions and attended residencies at the Virginia Commonwealth University in Richmond, Virginia and the Lawrence Arts Center, in Lawrence, Kansas. He led the University of Central Arkansas Printmaking Department as a Visiting Assistant Professor from 2014-2015 before deciding to move back to Rhode Island to reconnect with family and the local art community. Currently, he teaches drawing and design courses at Rhode Island College as well as Silkscreen at the AS220 Community Print Studio. He finds enjoyment in leading both the RIC Art and Printmaking Clubs as well as Co-Directing the Chazan Family Gallery on their campus. In 2017, John Paul managed to secure Providence as the host city for 2021 SGCI National Printmaking Conference and currently serves as the steering committee chair. In 2019, John Paul acquired sponsorship from Speedball Artist Supplies, a partnership that keeps him busy performing demonstrations and workshops for the company in the New England area.. John Paul is happily married to his wife Lena and currently resides in Providence, Rhode Island.
In my work, I draw inspiration from the distressed buildings and defaced walls of the inner city. I am attracted to these structures for their visual and textural properties; the cracks, chipping paint, poorly removed graffiti, fliers, flashy advertisements and the ever-looming surveillance camera. Growing up in Providence in the early 90’s provided enough visual material to work from. These commonly overlooked objects and spaces have become part of our peripheral canvas, essentially a colorful blur in the backdrop of our urban experience. The acts of painting, sanding, printing, collage’ and decollage’ have become ways of developing a mass of colorful and textural diverse collage material that I can quickly layer into my compositions. Part of my process involves manipulating these materials to create something that is visually balanced and texturally complex. Variations of cyan, magenta, yellow, and black have also become common colors in both my two and three dimensional work. This color scheme references how computers make sense of and depict our world. With advances in technology and social media, I find myself constantly oscillating between my physical and virtual presence. There is a parallel to that act and in how I develop work in my studio, constantly working back and forth between traditional and digital techniques. As a result, I find that my art is an exploration of the aesthetic place where physical and digital meet.