Positioning and posturing, to find the monologue within, this erupt-or, disruptor, Artist Paul Robinson marks a hopeful stage for imbuing personality, opinion, and ample feeling. Robinson [b. 1982], aka LUAP and Grimsby-born London-based Artist presents a new public mural in Bateman’s Row in Shoreditch, curated by OTZ.
Hope is didactic, and the Pink Bear, the mural’s central character takes on the public, with the set scene of a 12m by 6m stage. The anthropomorphised teddy bear suit of a being, Pink Bear is a prevailing subject of iconography in much of LUAP’s prolific catalogue of work. The Pink Bear transverses and endears itself within many alternative scenarios and stipulations across multiple artistic mediums for LUAP. The Pink Bear finds home in painting, performance, sculpture, and photography, and here the public mural returns to the conversation for LUAP as the artistic medium in this current ideation of the Pink Bear.
The slow-growing perception of learning the expression on your face, this mural titled Hope marks an image on the surface of an outwardly blanket expression on the Pink Bear that eases any leanings toward a particular emotion, let alone hope. The Pink Bear takes centre stage in its apparent dissonance, with the smear of an invariable sadness, a seemingly underserving counter to the singularity of the work’s title of Hope. Is the audience a viewer to the loss or absence of hope, to hopelessness? Feeling out of the situation, any emotional antennae are imposed and encouraged to participate and project, what may be the public audiences’ ideologies towards hope, and what enduring and withstanding hope may mean as they engage with the mural. The audience is encouraged to centre themselves for self-reflection and to know one another better.
To discuss Hope further and in greater depth, we asked Artist LUAP about the modes of making and intentions behind the mural, the audience reception, and the sentiments behind the Pink Bear as Hope’s protagonist.
What brought the Pink Bear into the light as such a singular motif in your work, and what are the narratives around its composition within the work of Hope?
Central to my artistic practice lies “The Pink Bear,” a cherished remnant of childhood memory. Through sessions of cognitive behavioural therapy (CBT), I resurrected this beloved figure, transforming it into a vessel for voyages of revelation and investigation. “The Pink Bear” embodies a spectrum of human encounters, morphing into a symbol of aspirations and anxieties. An enigmatic personality, it navigates between the surreal, the envisioned, and the corporeal. Body language forms the cornerstone of my work, with the deliberately expressionless bear serving as a focal point. In my creations, I utilise various poses and props to enrich the storytelling aspect of my art. Working primarily from photos, I intricately weave narratives through my compositions, leveraging the bear’s demeanour and gestures to convey layers of meaning.
In opting against giving the pink bear a fixed facial expression, I aimed to steer clear of imposing a specific mood onto the images. Instead, my intention was for the bear to act as a mirror, reflecting the personal emotions of the viewer and fostering a deeper connection with the artwork. By maintaining the bear’s expression deliberately neutral, I sought to create a space for viewers to project their own feelings and interpretations onto the piece, thereby enriching their experience and allowing for a more nuanced engagement with the work.
While the title “Hope” may suggest optimism and positivity, the portrayal of The Pink Bear indeed appears imbued with a profound sense of sadness and heartbreak. This intentional dissonance serves as a deliberate artistic choice, prompting viewers to delve into the complexities of hope amidst adversity. By juxtaposing the title with the bear’s emotive state, I aim to create a space for reflection and introspection.
Through the bear’s melancholic expression and posture, I seek to evoke empathy and understanding from the audience. Rather than presenting a straightforward narrative of hope, I invite viewers to explore the nuances of hope in the face of despair. The bear becomes a symbol of resilience, navigating through moments of darkness while still clinging to the possibility of a brighter tomorrow.
In this way, the intentional dissonance between the title and the bear’s emotive state serves as a catalyst for deeper contemplation. It challenges viewers to confront their preconceived notions of hope and encourages them to explore its complexities within the context of adversity. Ultimately, the portrayal of The Pink Bear invites viewers on a journey of introspection, where they can grapple with the intricacies of hope and its significance in the midst of life’s challenges.
What makes the approach and the intentions towards this piece different from your usual modes of making, your process, and how you feel an audience should receive Hope as a work?
I don’t feel there was anything different in the creation of this piece. All my work is an expression of something I feel.
What were the themes present and conversations you had going into making this mural?
I believe that hope can be perceived in two contrasting ways, a concept that I’ve tried to capture in this image. While The Pink Bear’s demeanour may exude a palpable sense of hopelessness and sadness, the presence of the flowers serves as a counterbalance, conveying a subtle yet profound sense of optimism.
This juxtaposition is intended to invite viewers into a contemplative exploration of the complex interplay between despair and possibility. By contrasting the bear’s melancholic expression with the vibrant presence of the flowers, I aim to illustrate the nuanced nature of hope itself. It’s a reminder that hope often emerges amidst moments of darkness and adversity, intertwined with feelings of sadness and despair.
Through this deliberate contrast, I hope to encourage viewers to reflect on their own experiences of hope and resilience. The image serves as a reminder that hope is not always overt or immediate but can manifest in unexpected ways, even in the midst of profound sorrow.
There is a break in technique from the pink bear oil paintings regarding realism to how the mural has been tackled. How did you approach the aesthetics of this piece, and what were the practicalities that had to be confronted, i.e. working on such large-scale ground might conjure?
I completed this huge mural in just three days, a contrast from my studio, where my canvases often require months to reach completion. However, I wanted this mural to resonate more closely with my studio techniques, so I wouldn’t say there is a break. Previous murals I’ve painted felt disconnected from my oil paintings, lacking depth and layers. So I sought to infuse this piece with greater dimension. By using methods closer to those on my canvas, I thinned the paint and let it cascade down the wall, mirroring the washes I use on my canvas. Layering and building depth, I worked to achieve a cohesive integration.
The Pink Bear has been a conduit through many mediums, for example, realist oil painting, photography, sculpture, and performance. How does the medium of the mural fare towards the Pink Bear’s endurance as a conduit for your artistic ideologies and its wider positioning in the contemporary art scene?
Murals offer an opportunity to engage with a broader audience, reaching beyond the confines of galleries and museums. By bringing “The Pink Bear” into public spaces, I aim to spark conversations and provoke thought on themes of nostalgia, emotional complexity, and the human experience. Also the scale and visibility of murals allow for a more immersive experience, enveloping viewers in the bear’s world and inviting them to explore its layers of meaning.
What are your plans going forward with Hope as a mural piece, and will you endeavour to continue this audience exchange of hope through other mediums and murals?
Hope is enduring.
Stand on the footsteps before, and take more footsteps further, with Hope on display for public viewing at Batemans Row, Shoreditch, London – EC2A.
About the artist
Paul Robinson also known as ‘LUAP’, is a British multidisciplinary artist who stands as a trailblazer in the contemporary art scene.
Central to LUAP’s artistic practice is “The Pink Bear”. A cherished remnant of childhood memory. Resurrected through sessions of cognitive behavioural therapy (CBT). The Pink Bear provokes thought and discussion wherever he goes. Transcending geographical boundaries the bear is one and all. A representation of a shared essence of humanity. Fostering connections and facilitating positive change. The Pink Bear continues to captivate and inspire.
LUAP’s classical practice finds a counterpart in his thirst for adventure. An artist who embraces uncertainty. He travels the world with The Pink Bear. Immersing himself in extreme settings. LUAP pushes the limits of endurance. Weathering extreme conditions and unforgiving landscapes. The final image is the prize. One that provides the fuel and acts as the catalyst for bold series of works.
Find out more Home | LUAP | Paul Robinson | Contemporary Fine Artist (luapstudios.co.uk)
Feature by Devika Pararasasinghe
Devika [she/her] is living and working in London as an artist and writer. Devika graduated in 2022 with a research MFA at Ruskin School of Art, University of Oxford.
Read Devika’s latest review Co Westerik Centenary showcases paintings and works on paper (abundantart.net)
