"I have always been interested in how the brain recognises objects, that has stayed with me, it is what pushes me to try and create work that is visually ambiguous. What interests me is the immediate, unconscious, pre-intellectual response to an artwork – the space after perception but before the brain begins to process what it sees."
Paul March is an English artist based in Geneva. Currently, he works mainly in clay which he uses to explore ambiguity using primitive yet strangely elegant forms.
A previous career as a clinical psychologist, specialising in neuropsychology, left him with an enduring fascination with how the brain perceives objects. As an artist, it is this which drives his search to create objects which defy categorisation. The sensation of ambiguity, at both the visual and conceptual level, often coupled with the absurd, also runs through his earlier works in other media, including painting, photography, drawing and three-dimensional installations.
“I think that, with my own art, what I want most is for people to have some kind of sensation rather than a thought – a physiological rather than a purely conceptual reaction. I’m not alone in this, Francis Bacon was very interested in it. And in 1997 “Sensation” was the Saatchi group’s first big exhibition of British artists who influenced my generation. They too were more interested in provoking an emotion, a sense of confusion or anxiety, than in creating something that was merely visually pleasing.”
March studied fine art at the Geneva University of Art and Design (HEAD) from 2001-2004; and ceramics and polymerisation from 2009-2010 at the Centre d’Expérimentation et de Réalisation en Céramique Contemporaine in Geneva.