FOREWORD
Recent times for Paul Kenton have the common denominator of fluidity. From the bespoke concrete poured to form the floors of his brand new bespoke studio, to the molten state of the aluminium before it cools and becomes the sheets onto which his new work is painted, the recurrent themes of evolution and flux are palpable within the aesthetic of Metallique . Fittingly, this dawning epoch for Paul as an ar tist could not begin in better surroundings. A ver y personal project, he has overseen ever y stage of the seven month build for his new studio, which is housed inside an old gasworks dating back to 1868. Having passed the new site daily during the commute to his previous studio for many a year, he had of ten imagined how he would conceptualise the design to retain the integrity and original character of the building, whilst also making it his own; a space that would gif t a balance of inspiration and focus.
The specially commissioned stained glass windows, designed to depict an
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