"Paul P.'s work conflates memory, ecstasy, and loss, adolescence and decadence, ripe beauty and its inevitable rot." —Vince AlettiPublished with Greene Naftali and Maureen Paley.Toronto-based artist Paul P.'s (born 1977) work puts the viewer on intimate terms with the codes of queer representation. P. emerged in the early 2000s as a leading artist of his generation, forging what critic Johanna Fateman calls a "libidinal-conceptual practice" anchored in the archive. This self-titled monograph pairs his jewel-toned portraits (sourced from a cache of 1970s gay erotica) with other recurring motifs: sculptures in the form of furniture, architectural abstractions and atmospheric near-monochromes—some flecked with images of bats in flight, a potent symbol of transience and desire.

"Paul P.'s work conflates memory, ecstasy, and loss, adolescence and decadence, ripe beauty and its inevitable rot." —Vince AlettiPublished with Greene Naftali and Maureen Paley.Toronto-based artist Paul P.'s (born 1977) work puts the viewer on intimate terms with the codes of queer representation. P. emerged in the early 2000s as a leading artist of his generation, forging what critic Johanna Fateman calls a "libidinal-conceptual practice" anchored in the archive. This self-titled monograph pairs his jewel-toned portraits (sourced from a cache of 1970s gay erotica) with other recurring motifs: sculptures in the form of furniture, architectural abstractions and atmospheric near-monochromes—some flecked with images of bats in flight, a potent symbol of transience and desire.

"Paul P.'s work conflates memory, ecstasy, and loss, adolescence and decadence, ripe beauty and its inevitable rot." —Vince AlettiPublished with Greene Naftali and Maureen Paley.Toronto-based artist Paul P.'s (born 1977) work puts the viewer on intimate terms with the codes of queer representation. P. emerged in the early 2000s as a leading artist of his generation, forging what critic Johanna Fateman calls a "libidinal-conceptual practice" anchored in the archive. This self-titled monograph pairs his jewel-toned portraits (sourced from a cache of 1970s gay erotica) with other recurring motifs: sculptures in the form of furniture, architectural abstractions and atmospheric near-monochromes—some flecked with images of bats in flight, a potent symbol of transience and desire.