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Celia Paul
Celia Paul
Celia Paul
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Celia Paul (born 11 November 1959) is an Indian-born British painter, best known for her intense, haunting portraits of her close family and herself.[1] Paul lives and works in London, England.

Key Information

Biography

[edit]

Celia Paul was born on 11 November 1959 in Thiruvananthapuram (formerly called Trivandrum), South India.

From 1976 to 1981 she studied at the Slade School of Fine Art in London, where she met Lucian Freud who was a visiting tutor and with whom she would have a relationship.

Paul was represented by Bernard Jacobson Gallery, London from 1984 to 1986 and then by Marlborough Fine Art, London from 1989 to 2014. She has been represented by Victoria Miro, London since May 2014.[2]

A solo exhibition of new work by the artist titled Celia Paul: Memory and Desire took place at Victoria Miro in London, 6 April–14 May 2022. The exhibition coincided with the publication of Letters to Gwen John, a new book by the artist published by Jonathan Cape and New York Review Books which centres on a series of letters addressed to the painter Gwen John (1876–1939), who has long been a tutelary spirit for Paul.

Paul wrote her autobiography Self-Portrait which was released in 2019 and well received by national newspapers including The Guardian,[1] The New York Times Magazine,[3] and The New York Review of Books.[4]

Style and influences

[edit]

Celia Paul's paintings are intimate depictions of people and places that she knows well. She does no portrait commissions. Her paintings have a haunting otherworldly feeling. "Throughout all her work the sense of sight is associated with a world of potential, within. This is how a sense of the ineffable is able to be communicated".[5] Paul worked on a series of paintings of her mother from 1977 to 2007 and since then she has concentrated on her four sisters, especially her sister Kate. "…[T]he real strength of Paul's project becomes apparent with time: the concentrated emotional energy of chronicling a family and its subtle shifts over many years".[6] Recently her work has taken a new direction and she has been focusing on landscape and the sea. "[S]he …is a creator of subterranean images. Her canvases are Impressionism in conversation with modernism- objective but felt".[7]

Paul lives and works in her studio which is directly opposite the main gates of the British Museum.[8]

Personal life

[edit]

From the age of 18 to 28, Paul was in a romantic relationship with Lucian Freud.[8] She has a son with him, Frank Paul (born 10 December 1984), who is also an artist. She was married to Steven Kupfer from 2011 until his death in 2021.

Solo exhibitions

[edit]
  • "Celia Paul: Colony of Ghosts", Victoria Miro, London, 14 March – 17 April 2025
  • "Celia Paul: Memory and Desire", Victoria Miro, London, 6 April – 14 May 2022
  • "Celia Paul: Self-Portrait", an extended reality (XR) exhibition on Vortic Collect, Victoria Miro, London, UK, 10 November – 12 December 2020
  • "Celia Paul: My Studio", an extended reality (XR) exhibition on Vortic Collect, Victoria Miro, London, UK, 26 June – 25 July 2020
  • "Celia Paul", Victoria Miro, London, 13 November – 20 December 2019
  • "Celia Paul", curated by Hilton Als, Yale Center for British Art, 3 April – 12 August 2018, traveled to the Huntington, San Marino, 9 February – 8 July 2019[9]
  • "The Sea and The Mirror", Victoria Miro Venice, 23 September – 21 December 2017
  • "Desdemona for Hilton by Celia", Victoria Miro, London, 16 September – 29 October 2016
  • "Desdemona for Celia by Hilton", Gallery Met, New York, 2015
  • "Celia Paul", Victoria Miro, 2014
  • "Gwen John and Celia Paul: Painters in Parallel", Pallant House Gallery, Chichester, 2012–2013
  • "Celia Paul", Graves Art Gallery, Sheffield, 2005
  • "Celia Paul: Stillness", Abbot Hall, Kendal, 2004
  • Regular solo exhibitions at Marlborough Fine Art, 1991–2013
  • "Celia Paul", Bernard Jacobson Gallery, 1986

Group exhibitions

[edit]
  • "Pictus Porrectus: Reconsidering the Full-Length Portrait", curated by Dodie Kazanjian and Alison Gingeras, Isaac Bell House, Newport, Rhode Island, 1 July – 2 October 2022
  • "Me, Myself, I – Artists’ Self-Portraits", Royal West of England Academy, Bristol, 2 May – 19 June 2022
  • "Figuration", Marlborough Gallery, London, 17 March – 29 April 2022
  • "The Sublime in Nature", Daniel Malarkey, London, 16 June – 10 July 2021
  • "I See You", an extended reality (XR) exhibition on Vortic Collect, Victoria Miro, London, 2 June – 4 July 2020
  • "Parley for the Oceans x Vortic", online exhibition on Vortic, 2 October – 2 November 2020
  • "Works on Paper", Galleri Bo Bjerggaard, Copenhagen, 26 January – 6 April 2019
  • "Unparalleled Journey through Contemporary Art of Past 50 Years", Rubell Museum, Miami, USA, on view since 4 December 2019
  • "Contemporary Dialogues with Tintoretto", Palazzo Ducale and Galleria Giorgio Franchetti alla Ca’ d’Oro, Venice, 20 October 2018 – 24 February 2019
  • "Studio Prints: a Survey", Marlborough Fine Art, London, 30 November – 21 December 2018
  • "All Too Human", Tate Britain, 28 February – 26 August 2018; travelling to Museum of Fine Arts, Budapest, 9 October 2018 – 13 January 2019
  • "House Work", Victoria Miro Mayfair, London, 1 February – 18 March 2017
  • "NO MAN'S LAND: Women Artists from the Rubell Family Collection", Rubell Family Collection, Miami, 2015 – 2016
  • "Forces in Nature", curated by Hilton Als; Victoria Miro, London, 2015
  • Work presented at Frieze Art Fair, London, 2014 by Victoria Miro
  • "Cinematic Visions: Painting at the Edge of Reality", curated by James Franco, Isaac Julien and Glenn Scott Wright, Victoria Miro, London, 2013
  • "Self-Consciousness", curated by Peter Doig and Hilton Als, VeneKlasen/Werner, Berlin, 2010
  • "Psycho", curated by Danny Moynihan, Anne Faggionato, London, 2000
  • "School of London", Odette Gilbert, London, 1989
  • "British Figurative Art: Sickert to Bacon", Israel Museum, Jerusalem, 1989
  • "School of London: Bacon to Bevan", Musée Maillol, Paris, 1998
  • "September", curated by Peter Doig, The approach, London, 1997

Films and interviews

[edit]

Public collections

[edit]

British Museum, London; National Portrait Gallery, London; Victoria and Albert Museum, London; Saatchi Collection, London; Abbot Hall, Kendal; Metropolitan Museum of Art, New York; Yale Center for British Art, Connecticut; Carlsberg Foundation, Copenhagen; Frissiras Museum, Athens; Herzog Anton Ulrich Museum, Brunswick, Germany; Morgan Library, New York; New Hall Art Collection, Cambridge.

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Celia Paul

View on Grokipedia
from Grokipedia
Celia Paul is a British painter known for her intimate, introspective portraits of family members, close friends, and herself, as well as her depictions of domestic interiors and seascapes that explore themes of memory, loss, aging, and emotional constancy. Her work, characterized by a delicate yet emotionally weighted handling of light, color, and form, draws almost exclusively from her immediate personal world, reflecting a lifelong commitment to painting from life and from deep familiarity with her subjects. Born in 1959 in Thiruvananthapuram (Trivandrum), India, to Christian missionary parents, Paul moved to England as a child and grew up in various locations, including the evangelical community at Lee Abbey on the Exmoor coast. She studied at the Slade School of Fine Art in London from the age of sixteen, where she met Lucian Freud, who was a visiting tutor; their decade-long relationship produced a son, Frank, and profoundly influenced her early career, though her practice has remained distinctly independent. Since the 1980s, she has lived and worked in the same top-floor London flat opposite the British Museum, whose views and interiors recur throughout her paintings. Paul's career highlights include a long-term series of portraits of her mother (1977–2007), group portraits of her four sisters, and an ongoing series of self-portraits that document her own aging. Her work has been the subject of major solo exhibitions, such as the 2018 show curated by Hilton Als at the Yale Center for British Art (later at The Huntington), and she has published two notable books: the memoir Self-Portrait (2019) and Letters to Gwen John (2022), which interweaves personal reflection with art historical insight. Her paintings are held in prominent collections including the British Museum, National Portrait Gallery, Victoria and Albert Museum, and Metropolitan Museum of Art.

Early life and education

Birth and childhood in India

Celia Paul was born on 11 November 1959 in Thiruvananthapuram (formerly Trivandrum), the capital of Kerala in southern India. She was the daughter of Christian missionaries, with her father serving in a religious capacity in India during her earliest years. Her first home formed part of a theological seminary complex in Kerala, reflecting the communal and religious environment in which she began her life. Paul's early childhood in India was shaped by her parents' missionary work and the close-knit religious community surrounding them. At the age of four, she was sent to boarding school, an experience that caused significant distress, leading her to refuse food in response to the separation. Shortly afterward, she was diagnosed with leukaemia, a serious illness that prompted her family to relocate to England in search of medical treatment. The family returned to England when Paul was five years old, marking the end of her childhood in India. She recovered from her illness soon after the move, which her parents attributed to divine intervention. Her father, Geoffrey Paul, later became Bishop of Bradford for the final two years of his life.

Studies at the Slade School of Fine Art

Celia Paul attended the Slade School of Fine Art in London from 1976 to 1981, where she received her formal artistic training. During this period, she met Lucian Freud, who served as a visiting tutor at the school. Her talent was recognized early, with Slade professor Lawrence Gowing describing her as "one of the best painters of her generation." This encounter with Freud marked the beginning of his influence on her artistic development and the start of their personal relationship.

Career as a painter

Early work and meeting Lucian Freud

Celia Paul began her significant early work during her time at the Slade School of Fine Art, where she shifted her focus from landscapes and natural objects to portraiture of people she knew intimately. In 1977 she started painting her mother, initiating a series of portraits that continued until 2007 and became one of her most sustained subjects. During holidays she also produced portraits of elderly women in a local care home, drawn to their stillness, resignation, and accumulated memories. In autumn 1978, while still a student, Paul met Lucian Freud, who was serving as a visiting tutor at the Slade. She showed him her drawings of her mother, which she later described as her first true works of art because they were made out of love and necessity. This encounter marked the beginning of an association with Freud that profoundly shaped her early development as a painter. Paul admired Freud's practice of working exclusively from people he knew and loved, finding it liberating in contrast to the Slade's emphasis on anonymous life models. She valued the honesty in his subdued palette of greys and browns, which she saw as true to London's light and akin to Rembrandt and Dutch art, rather than the brighter colors favored by other Slade tutors. Freud remarked that her own early paintings appeared to have been made with "a loving knife and fork," highlighting their initial literal detail and earnestness. Influenced by this example and her own evolving instincts, Paul moved away from overly precise rendering toward greater freedom in her approach. Her early portraits of her mother and family revealed traces of Frank Auerbach's thick impasto and Ernst Ludwig Kirchner's expressive distortion of features, while already displaying the intense attention to loved ones that would define her practice. Following her graduation from the Slade in 1981, she transitioned into her career as an exhibiting artist during the 1980s, with her first solo exhibition taking place in 1986. Celia Paul was represented by Bernard Jacobson Gallery from 1984 to 1986. Her first solo exhibition took place there in 1986 in London. She subsequently joined Marlborough Fine Art in 1989 and remained with the gallery until 2014. During this period, she presented regular solo exhibitions from 1991 to 2013, often featuring paintings, drawings, etchings, and prints. These shows at Marlborough Fine Art in London included "Celia Paul: Paintings and Drawings" and "Celia Paul: Etchings" in 1991, further exhibitions of paintings, drawings, and etchings in 1995, "Recent Drawings and Prints" and additional etchings in 1999, "Where I am now" in 2006, "Identity, Paintings and Watercolours" and related etchings in 2011, and "The Separation series and recent work" in 2013. The gallery also hosted related print and graphics presentations during these years. Since 2014, Paul has been represented by Victoria Miro. Her first solo exhibition with the gallery occurred in 2014 in London. Notable solo exhibitions include "Gwen John and Celia Paul: Painters in Parallel" at Pallant House Gallery from 2012 to 2013. In 2018, the Yale Center for British Art presented "Celia Paul," curated by Hilton Als. Recent exhibitions at Victoria Miro have included "Memory and Desire" in 2022 and "Colony of Ghosts" in 2025.

Recent exhibitions and ongoing practice

Celia Paul has continued her long-standing relationship with Victoria Miro gallery through a series of solo exhibitions in the 2020s, presenting new bodies of work that deepen her exploration of self-portraiture, family, and landscape. In 2022, her exhibition Memory and Desire in London coincided with the publication of her book Letters to Gwen John. This was followed in 2023 by Myself, Among Others at Victoria Miro's Venice space, where she showed paintings completed during a residency in the city, including self-portraits such as Overwhelmed by Beauty (Self-Portrait) and works engaging with family relationships, memory, and Venetian light on water. Most recently, Colony of Ghosts opened at Victoria Miro in London in March 2025 and ran through April, marking her eighth solo show with the gallery and coinciding with the launch of a major monograph, Celia Paul: Works 1975–2025, published by MACK. In her ongoing practice since the mid-2010s, Paul has intensified her focus on self-portraits that convey a new-found sense of self-acceptance and defiance, often depicting multiple selves across time in dialogue with the present tense of painting. She has maintained a strong emphasis on family portraiture, particularly her four sisters, as seen in works such as My Sisters by the Sea and other paintings that capture constancy and change within intimate relationships. Seascapes and studio views have become prominent recurring motifs, with water symbolizing the eternal, the flow of time, the dissolution of bodies, and shifts in consciousness, while her Bloomsbury studio serves as a recurring subject that embodies home as both a quest and a question. These elements appear across her recent exhibitions, as in Colony of Ghosts, which included self-portraits like Painter at Home and Reclining Painter, seascapes such as The Sea, The Sea, and works addressing apparitional figures from her past. Paul's recent paintings often engage with memory and absent presences, transforming personal and art-historical references into ethereal yet forceful compositions that assert her agency and interiority. In Colony of Ghosts, for instance, she depicted historical male painters alongside her own self-representations, underscoring themes of belonging, solidarity, and the solitary path of recognition for women artists. This thematic evolution reflects her enduring commitment to capturing the complexities of interior and exterior life, where the act of painting itself becomes a site of rootedness and defiance.

Artistic style and themes

Self-portraits and family portraits

Celia Paul has created a large number of evocative self-portraits over the course of her career, using them to chronicle her own appearance and inner state across decades. These works often convey profound introspection, with lowered eyes, sombre palettes, and an ethereal aura that draws viewers into a meditative world marked by emotional intensity. Paul has described her self-portraits as a means of confronting female individuality, achieving authenticity only after years of struggle, including a breakthrough series in 2013 of five head-and-shoulders portraits in identical black sweaters that blurred distinctions between likeness and multiplicity. From 1977 to 2007, Paul focused on a long-term series of paintings of her mother, who served as her primary sitter and whose presence initially overshadowed Paul's own self-representation. The portraits grew more compassionate over time, reflecting deepening emotional connection. Following her mother's death in 2015, Paul shifted her attention to her four sisters, especially her sister Kate, who became a regular model and whose portraits she has described as almost self-portraits by proxy, evoking a sense of peace when imagined in sequence. Paul refuses all commissions and paints only those with whom she shares close personal ties, resulting in intimate, contemplative depictions of family members that carry a quiet yet deeply moving quality. Her family portraits, including group works such as My Sisters in Mourning (2015), emphasize inwardness, grief, and separation amid unity, with figures often appearing in their own worlds despite physical proximity. Many of these works possess a haunting, spiritual dimension, grounded in heavy emotional presence even as the material forms appear weightless.

Seascapes, landscapes, and recurring motifs

Celia Paul's paintings of seascapes and landscapes form a significant aspect of her practice, with water emerging as an enduring motif that represents the eternal, the flow of time, and a sense of bodies becoming dissolute as consciousness shifts to a more elemental plane. These water paintings are permeated by themes of mortality and impermanence, often evoking dissolution and the merging of forms into broader natural forces. Paul began focusing on the sea in 2015 during her mother's final illness and death, an experience that intensified her sense of connection to nature and prompted reflections on how "forms broke up" and "nothing seemed to be permanent." The sea in her work thus serves as a symbolic space for absent presences, particularly her mother's continuing presence, while also embodying impermanence and the breaking down of fixed boundaries. Her landscapes frequently draw from views of her Bloomsbury studio, situated directly opposite the British Museum on the top floor, where she captures recurring elements such as the museum itself, plane trees, the BT Tower, and shifting light and shadows. These studio views explore dialogues between constancy and change, as enduring architectural and natural landmarks interact with transient effects of light, moonlight, and seasonal variation. The British Museum recurs as a motif tied to memory and history, reinforcing the presence of the past within the painted moment and the eternal present tense of paint itself. Across these bodies of work, Paul returns to motifs of water and her studio environment to address themes of the passage of time, the continuous interplay between past and present, and a sense of self-acceptance rooted in the act of painting rather than a fixed physical place. These subjects lend her art a distinctive rhythm of movement and stasis, where the eternal flow of time coexists with moments of stillness and reflection. Such motifs have appeared prominently in her recent exhibitions.

Personal life

Relationship with Lucian Freud and son Frank

Celia Paul began a relationship with the painter Lucian Freud in 1978, when she was 18 years old and he was a visiting tutor at the Slade School of Fine Art. The relationship lasted until 1988, spanning a decade during which Paul was in her late teens and twenties. Their son, Frank Paul, was born on 10 December 1984. Frank Paul has since become an artist himself. Following the end of the relationship, Paul raised Frank as a single mother and emphasized her determination to establish independence, both personally and artistically, after years of living under Freud's influence. She has described the relationship as marked by significant power imbalances due to the age difference and Freud's dominant personality, leading her to prioritize her own life and work thereafter. In her memoir Self-Portrait, Paul reflects on these experiences, highlighting her choice to live alone with her son in order to pursue her career freely.

Marriage to Steven Kupfer

Celia Paul married Steven Kupfer in 2011. Her husband Steven Kupfer died of cancer on 29 March 2021. Paul and Kupfer lived separately throughout their marriage, allowing each other complete freedom while remaining supportive and present for one another. She described him as sharing an insouciance about the world's opinion, providing reassurance and loving her for herself. In the final months of his life, from late 2020 onward, Paul painted intimate portraits of Kupfer, capturing his vulnerability as he became increasingly ill. One work, the Last Painting of Steve (2017–2021), depicts him faintly in translucent tones, painted with delicate sable brushwork that evokes fragility and ephemerality, as Paul sought to preserve his image. She noted of this piece that "He is there, but only just," with the paper support emphasizing its delicate nature. These works emerged during a time of profound sadness and isolation, contributing to her exhibition Memory and Desire at Victoria Miro in 2022.

Publications

Self-Portrait memoir

Self-Portrait, Celia Paul's memoir, was published in November 2019 by Jonathan Cape. The book is an intimate and reflective account of her life as an artist, drawing from early journal entries and memories to chronicle her childhood in India, her student days at the Slade School of Fine Art in London, and her subsequent development as a painter. Through the narrative, Paul emphasizes her commitment to art and asserts her identity as an independent artist, moving beyond the label of muse associated with her relationship with Lucian Freud. The memoir is illustrated with reproductions of her own works, blending text and image to provide a visual dimension to her personal and creative story. It received positive critical reception for its honesty and insight into the experiences of a woman artist balancing personal life and professional ambition.

Letters to Gwen John

Celia Paul's Letters to Gwen John, published in April 2022 by Jonathan Cape in the United Kingdom and New York Review Books in the United States, consists of a series of imagined, one-sided letters addressed to the Welsh painter Gwen John (1876–1939). The book presents John as a longstanding tutelary spirit and guiding presence for Paul, framing their correspondence as an exploration of shared experiences across a century. Its publication coincided with Paul's solo exhibition Memory and Desire at Victoria Miro gallery in London, held from 6 April to 14 May 2022. The letters draw parallels between the two artists' lives as women painters, emphasizing their mutual dedication to painting primarily women subjects, their resolve to safeguard their creative sources, and the ways relationships with older male artists influenced the public perception of their work. Themes of loneliness, asceticism, ambition, desire, and the struggle to preserve autonomy for artistic practice recur throughout, positioning the two painters as solitary yet kindred figures connected through their commitment to creating on their own terms.

Appearances in film and television

Documentaries and artist profiles

Celia Paul has appeared as herself in several documentaries and artist profiles, many of which explore her connection to Lucian Freud or her own experiences as a painter. In the 2004 television documentary Lucian Freud: Portraits, directed by Jake Auerbach, Paul is interviewed alongside other sitters and acquaintances to analyze Freud's approach to portraiture through personal perspectives. The film incorporates her reflections as a fellow painter and former subject to offer an intimate view of Freud's private and intensely focused working methods. Paul also contributed to Lucian Freud: Painted Life, directed by Randall Wright in 2012, where she appears among those providing commentary on Freud's life and artistic legacy. In 2012, she was featured in The Last Art Film, another documentary by Jake Auerbach, which examines the personal instincts and drives that initiate and sustain artists in their practice, with Paul among the participating painters sharing her views. Her most extensive on-screen profile is the 2020 documentary Celia Paul: private view, directed by Jake Auerbach, which tells her story directly in her own words through conversations filmed over two years leading to her autobiography. The film covers her childhood in India, her move to the Slade School of Fine Art at age sixteen, her relationship with Lucian Freud and the birth of their son, the challenges of reconciling motherhood with full artistic commitment, and her development toward independence as a painter with an international reputation. Described as a portrait of a life truly lived through art, it emphasizes her determination, ruthlessness, and warmth as a private woman who has navigated significant personal and professional sacrifices.

Recognition and legacy

Public collections

Celia Paul's works are held in several prominent public and private collections in the United Kingdom and the United States. In London, her paintings and drawings form part of the holdings at the British Museum, the National Portrait Gallery, and the Victoria and Albert Museum. In the United States, her work is represented in the Metropolitan Museum of Art in New York, the Yale Center for British Art in New Haven, and the Morgan Library & Museum. The National Portrait Gallery, in particular, owns her oil on canvas Portrait, Eyes Lowered (2019) and an etching (2002). The Morgan Library & Museum holds her watercolor on paper mounted on canvas Annela (2003). The Yale Center for British Art holds her painting Annela (2000–2001). Her work is also included in the Saatchi Collection in London and the Rubell Family Collection in Miami. The Rubell Family Collection holds her oil on canvas St Brigid's Vision (2014–2015).

Awards and critical reception

Celia Paul was awarded Harper's Bazaar Artist of the Year in 2019, in recognition of her figurative paintings described as elegiac and intimate, with recent projects confirming her reputation as one of Britain's leading artists. Her work has received significant curatorial attention, including inclusion in the Tate Britain's 2018 group exhibition All Too Human: Bacon, Freud and a Century of Painting Life, which explored the sensuous and intense depiction of life through paint in British art. In the same year, a solo exhibition of her recent paintings was curated by Hilton Als at the Yale Center for British Art (later traveling to The Huntington), as the first in a series focused on women artists, highlighting her psychological visual vocabulary and recurring themes of memory, family, and the inner lives of women. Critics have praised Paul's paintings for their haunting quality, emotional depth, and quiet power, often noting a reticent yet deeply affecting style that conveys introspection and presence despite understatement. Her canvases are described as combining weightlessness with heaviness, their emotional presence heavy and grounded in feelings, while maintaining a timeless yet autobiographical quality. Reviewers have emphasized her emergence from Lucian Freud's shadow, asserting that if she was once overshadowed, she certainly is not now, with her work reflecting a distinctive gaze and defiant self-acceptance. Her paintings evoke haunting instability and profound emotional weight, particularly in explorations of grief and self-representation. This critical acclaim is further evidenced by major publications, including a 2025 monograph featuring essays by Hilton Als and Karl Ove Knausgaard.

References

  1. https://www.victoria-miro.com/artists/186/
  2. https://www.newyorker.com/magazine/2025/02/03/the-world-changing-gaze-of-celia-paul
  3. https://britishart.yale.edu/sites/default/files/inline/Celia%20Paul_Booklet_FINAL.pdf
  4. https://www.penguin.co.uk/authors/243426/celia-paul
  5. https://app.smartify.org/sgn-NL/artists/celia-paul
  6. https://www.antonioolmos.com/image?&_bqG=180&_bqH=eJzzc4n0Mi9MdotPt_DPjnQLjahwTAw0MMooDYq0sjQ2tjI0MABhIOkZ7xLsbFuemZOTmZhbrAbmxjv6udiWANmhwa5B8Z4utqEgpaXllWVeuXmhTiGOavGOziG2xamJRckZANb8IRw-&GI_ID=
  7. https://www.studiointernational.com/celia-paul-desdemona-for-hilton-review-london
  8. https://heni.com/news?artist=Celia%20Paul
  9. https://astra-mag.com/articles/celia-paul-up-from-the-burning-bracken/
  10. http://online.victoria-miro.com/celia-paul-london-2022/
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  12. https://www.britishmuseum.org/collection/term/BIOG41347
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  16. https://www.artsy.net/artist/celia-paul
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  23. https://twoxtwo.org/catalogue/2016/self-portrait-december-january/
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  50. https://hyperallergic.com/celia-paul-paints-her-place-in-the-world/
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