Paul Cupido: Finding Solace — Sirocco Studios copy 1

Paul Cupido on artisanal finishing techniques supporting visual messages
In conversation with Luke Newbould

8 April, 2024: Cadaqués, Spain.

Paul Cupido is one of my greatest artistic influences. His photographic practice, which centres around the Japanese philosophy of “Mu” (無) and the search for solace, is intricately sensitive. Through Paul’s affinity for the natural world and sense of impermanence, his photographs reflect the ethereal, transient nature of existence. Each photograph is unique to its artisanal finishing technique, with the organic textures reflecting his subtle messages. I had the chance to speak with Paul during his art-residency in Cadaqués, where he explains the meaning behind his processes.

Drawing on your time on the small Okinawa island Irabu when we first spoke, I have noticed a recurring theme in your work centered around nearby Japanese islands. What is it about these islands that continues to captivate you?

I was born and raised on an island, therefore they have always been understandable and a kind of home to me. I’m an islandophile- I love visiting islands. I find it fascinating how isolation creates a microcosm. The people on an island have had to sustain themselves for a long time, forming an autarkic identity. These islands become mini-planets in a larger universe. I am now also experiencing that same feeling in Cadaqués which has also been isolated for a long time.

In a past interview you mentioned the sensitive beauty of ‘play’ and coincidence, in favour of a highly produced work. In this sense, what part of your photographic process brings you most fulfilment?

When I’m in the present moment.

In this same journal I have been in conversation with Eric Levert, who spoke highly of your photopolymer prints showcased in your debut exhibition. What qualities draw you to toyobo prints?

I had been looking for a long time for a technique that is not toxic and allows for printing on very thin Japanese paper. With this, I wanted to show the sensitivity of my work — Eric Levert once spontaneously approached me to show his mastery. Everything then fell into place.

Previously, during my travels in Japan, I have been captivated by the woodblock prints (ukiyo-e) of Kato Teruhide. These prints are poetic artworks akin to graphic haikus. (Everyone is familiar with the famous ‘big wave.’) As a great admirer of handmade Japanese paper, I wanted nothing else but to print on only this. The refined fibres of the paper capture the light so beautifully, and the thinness of the paper enhances the tactility of my work.

I believe that technique should not only influence the content and message but rather, it should support them. Technique and message become one, creating a singular object.

Another crucial principle is to work in an eco-friendly (non-toxic) manner. Nature plays a significant role in my work, and I do not want to use toxic substances, as it would contradict my working ethos. A final, integral point is that I like to employ an artisanal finishing technique. I believe that technique should not only influence the content and message but rather, it should support them. Technique and message become one, creating a singular object.

I see your photographs as organic and meditative. From the fine paper choice to the inclusion of nature and use of space, do you view your prints as reflective of a part of your being?

That’s a good question. My work is sensitive, much like I am, but sensitivity often leads to discomfort in life. The essence of my work is about finding solace.

*Note - It is good to read ‘In Praise of Shadows,’ an essay on Japanese aesthetics by the Japanese author Junichiro Tanizaki.

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