Paul Paquette was born in Cornerbrook, Newfoundland in 1962. His family moved to Montreal, Quebec in 1964, Winnipeg, Manitoba in 1970 and finally to Vancouver, British Columbia six years later.

In his teens Paul took an interest in photography, film making and woodworking. However it was not until after his graduation from high school that he began painting.

Paul began attending drop-in life classes at the Federation of Canadian Artists. Here he was introduced to Alan Edwards (then president of FCA) who saw fit to give Paul a study bursary allowing unlimited access to art classes. For the next three years, Paul atttended regular classes and seminars given by artists such as Alan Edwards, Harry Hiene, Kiff Holland, Robert Genn and Elizabeth Smily to name but a few.

In 1985, Paul was accepted into commercial art program at Capilano College in North Vancouver. Here he studied to become a graphic artist- with a heavy personal emphasis on illustration- and earned a place on the Deans List in his first year. However during his third year at Capillano College Paul met and studied under Paul Degan -an excellent artist and inspiring teacher.

"I have always felt a tremendous debt to Paul Degan - more than any other teacher.He believed in my artistic talent and pushed me back towards painting at a time when I was prepared to consign my personal art to mere hobby in favour of graphic work.I still recall how he took me into his office to critique my life drawings. . after a long contemplative pause, he turned to me and said
"You really have got a special talent - don't waste it on commercial art. . Paint! Paint!"I believe that at that moment, my future as an artist was cemented."

After completing college, Paul pursued a career as an illustrator and graphic artist, but only as much as necessary to support himself while he developed his painting technique.

Paul became a regular attendee at the Basic Inquiry Studio on Main Street in Vancouver and in the years to follow taught several classes there, including portrait painting and human anatomy. He also taught art courses for the Vancouver School Board Continuing Education Program including drawing and watercolour painting.

"When I first left college, my paintings were largely figurative and somewhat academic.But as time passed I began to explore more conceptual themes and different mediums.I painted architecture and portraits.I explored subjects involving people going through the motions and emotions of life.I borrowed from the old masters and experimented with the techniques of other artists whose work I admired.I was working in photography, watercolour, acrylic, oil . . I even tried my hand at sculpting."

Throughout the 1990's, Paul exhibited artworks in cafes and restaurants. This brought not only public recognition and some sales, but also attracted the attention of several art agents that led to long lasting professional relationships.The high point of this period was a huge one-man retrospective of figurative work which was mounted for the gala opening of a new restaurant.It was a huge success - but utterly exhausting to mount, and it left Paul burned out.

"It was the last time I would go to the trouble and expense of mounting a cafe show.Whether it was coincidence or fate, it also marked a change in my artistic direction.Although I never attempted to restrict myself creatively, I found that by the mid 1990's I had begun to move away from figurative work (with the exception of portraits) and was now increasingly exploring the possibilites of painting landscapes.It was in this direction that I found fresh creative energy."

In 1993, Paul bought a 30 foot sailboat and for the next three years explored the waters of southern British Columbia.His paintings of this period often reflect the many shapes and moods of the coast and the Gulf Islands.

Paul built strong friendships with art collectors and agents. Their enthusiastic support and ongoing promotion of his work led to a steadily increasing stream of sales and commissions.By 2000, Paul began exhibiting in commercial galleries in British Columbia which further increased his work's public exposure.

"It's been a long road but the journey isn't really over. Just when I feel my energy beginning to flag, I find a new subject or try a different approach and the excitement and enthusiasm rise up all over again. Painting isn't work to me - not in the conventional sense of the word - it is something I become completely absorbed in, where I lose all track of time. I can never be an artist who paints the same subject using the same technique over and over again. My easel is like a laboratory and I feel compelled to try new things all the time - this is what keeps painting challenging and exciting. I am my own toughest critic and I set my expectations higher each time I sit down to paint."