Currently working on an unusual commission, so thought a video of the process would be interesting. This is the setup for shooting from above whilst cutting the stencils.

I’ve stuck a tripod leg down the monitor stand pole and then the central column holding the camera comes out at a 90 degree angle. An altogether better approach than jamming it behind the radiator in the previous house!



Any artist will tell you about the curse of diminishingly decent clothes. You nip into the studio to grab something and after half an hour of tinkering, you realized you’ve ruined your newest shirt with inexplicable paint smears. I try not to venture out to the studio in the garden unless I’m wearing this hoodie (six years old and going strong) and a particularly tatty pair of jeans to minimize the curse.


Then there’s Mrs Pahnl’s paint hoodie (previously one of my own perfectly clean hoodies), which is about two or three years into it’s service.


On the pleasure of leaving little marks in public, why I wouldn’t get a tattoo and what the word ‘scraggle’ means.

I keep meaning to post this Q&A / interview I had with the Not Banksy Forum a couple months back, so here it is for Monday’s blog post.

Where does the name Pahnl originate?
It’s a misspelling of ‘panel’ to turn it from a noun to a name. I pronounce it the same way too, not that that stops other people saying Pa-hee-nil, Panini or even Paul. And that’s panel as in comic panel as I sometimes see surfaces in the street as a comic panel to drop my characters into.

What’s the strangest thing you have in your studio?
I’d say the vast majority the stuff in there is pretty standard; paints, canvases, postal tubes and the like. The strangest thing is probably the rat I hear scurrying away everytime I turn the lights on as I enter at night. Maybe he’s out in the day posing for reference photos for a certain someone?It’s not often you see many shows in the Midlands – what led you to choose Coventry over London?
It’s probably fairer to say that Coventry, more specifically The Herbert gallery, chose me. I had previously worked with them as part of a group show involving the V&A, one of the curators enjoyed what I did and he wanted to see what I’d do when given a solo exhibition. I’d say it worked out well. Also, this show will have been up for three and a half months by the end of it and they’re telling me over 30,000 people have specifically visited it. In London, you’re lucky if something is up for three weeks.

A lot of your commissions are based on people’s stories. What’s the weirdest commission you’ve done and are there any you turned down?
I’ve turned down commission requests before because I thought they wouldn’t work with my style but nothing is ever too weird to try. I definitely enjoy being a little part of people’s stories, everyone has something different to say. Often times the commission stretches across separate canvases as a triptych or pentaptych (I had to just google that, never used that word before in my life), much like a comic strip. What’s nice about those is that I’ve had collectors ask for additions to these pieces to carry the story on. I like the aspect of a kind of living tableaux. Continue reading