Paul Rousso’s work starts from initial training in Fine Arts, with a subsequent professional dedication in the world of advertising and set design in the late 70s, early 80s. He began by joining an interior design team that decorated Robert de Niro’s house, before being hired as a set painter for Warner Brothers films; Later he worked as an art director for various companies in the world of fashion and luxury such as Revlon, Clairol, Condé Nast or Bloomingdale’s.

In the 90s, he focused on his artistic work, with intense exhibition activity in galleries, fairs, and art centers, mainly in the United States, with forays into Europe. Likewise, he regularly receives commissions from institutions and public authorities for the realization of large-scale pieces in public spaces. Rousso’s work is found in numerous private collections in North America, Europe, and the Middle East, as well as in numerous public projects in different parts of the United States. The design and media advertising printing press coincide with many of the assumptions of the American PopArt of the 60s, which made the objects of the consumer society the icons of modern life.

His work is based on creating volumes from a flat surface, what the artist calls “Flat Depth:” converting a two-dimensional object into a three-dimensional object through complex artistic techniques that include painting, digital manipulation, digital printing, and manual heat modeling. Reaching dimensions of up to 4 x 5 meters, Rousso takes advantage of the ironic act of discarding items such as money, candy wrappers, and magazine pages to create a crumpled three-dimensional object, inflating its size to unusual dimensions.
 

See works in Artsy