paul glennon



Paul Glennon is an Artist, Designer and Educator living and working in the UK. He has over 20 years experience in the creative sector and has taught Art & Design at every educational level (Primary, Secondary, College and Higher Education). He is currently Associate Dean of Outreach at the University of the Arts, London.

Below is a paper that Paul Glennon published in 'The Soundtrack' in 2012, giving a rationale for his artwork.


Just like the advent of photography in the 19th century, technological advances in the 20th century have pushed the boundaries of Art.  Of all these advancements the Internet is the most significant. Its omnipresence in human life grows exponentially. Its pervasive nature in our homes, work, pockets and public places makes the Internet an obvious place for Art. However, all too often it is exploited more as portfolio than platform. You can see images of Artists’ work and listen to them talking about their work, but rarely Art in its primary form. 
The Internet brings opportunity like no other medium. It encompasses sound, moving image, text, image, live interaction, real time discussion, virtual learning environments, social media, augmented reality, etc. and the list goes on. The home television is slowly morphing into our home computer and with it comes a watch on demand usage rather than a dictated schedule of programming. People can choose what it is they want to see and when they want to see it.
Considering the ferocious development of the Internet and the current technological advancements in areas such as nanotechnology, the shape and form of the screens on which we view the Internet will continue to flourish rapidly. The standard landscape, rectangular screen has already been literally turned on its side by mobile devices. It is an obvious time for the Art World – who have always had a foot in the future – to engage with the sound and vision potential of the Internet as digital canvas.
The Art Gallery, once criticised for its clinical white space and adoring artisan audience, is now transforming its public image with analogue and digital marketing strategies. The target areas are as much for online audiences as they are for ticket sales, and footfall is now measured alongside web analytics. This shift signals clear awareness, but the primary focus is promotion not production.
All too often the ‘techy’ side of the Internet and its technological advancements take the main driving seat in educational programmes that engage with digital cultures. The speed of the Internet and its complexities can leave behind even the most able and adaptable educators. This diminishes the opportunity to re-examine the traditional canvas-plinth Art form against its potential translation onto the Internet. The focus is thus heavily reliant upon audience participation and exploiting the greatness of the technology at the expense of beauty, creativity and the basic idea.
People have a right to see and hear Art but, alas, not all can. Some may never see the inside of an Art Gallery due to the inequity of the world that we live in. It is of course important to recognise that not all have access to the Internet, however, this is even more reason why Artists should engage with the Internet as an Art form. Connecting the world via the Internet is vital to humanity as it allows for our collective voice to be heard and seen. It was Carl Jung who introduced us to the ‘collective unconscious’ – in essence the Internet is the actual manifestation of this idea and Artists need to be at the centre exploiting its opportunities.

The Soundtrack Internet Art: Glennon, P. et al. (2012) Volume 5(1), pp. 73-112



Themes explored in Paul Glennon's artworks are: simplicity; the collective unconscious (and its relationship to the Internet); space; balance; equality & identity and movement.

As a designer Paul Glennon is interested in the ampersand (&) between Art & Design and how the two interact.