About Me
About
Paul Weiner works across painting, drawing, sculpture, and generative systems to examine how images circulate, accumulate meaning, and produce belief. Familiar symbols are transformed into tools and surfaces, collapsing distinctions between abstraction and information, authorship and distribution.
Paul Weiner (b. 1993, Denver, Colorado) received a BFA in Painting from Syracuse University in 2015. His debut international solo exhibition, American Amnesia, was presented in 2018 at Krupic Kersting, Cologne, where a 144 × 216 inch American flag painting entered the Gesamtkunstwerk collection.
His work was recently included in Timeless Voices (2025) organized by the Mudam Museum cercle des collectionneurs alongside Marina Abramović, Pierre Soulages, Peter Halley, and Rashid Johnson et al. Weiner's work has also been seen at Museo Jumex, Museo Tamayo, Museo de Arte Moderno (CDMX), Athens Institute for Contemporary Art, 52 Walker, Mana Contemporary, Pablo’s Birthday, and UNTITLED Art Miami Beach.
He has participated in multiple residencies, including Kehinde Wiley’s Black Rock Senegal, where he was commissioned to produce work for Wiley's collection.
His work was recently included in Timeless Voices (2025) organized by the Mudam Museum cercle des collectionneurs alongside Marina Abramović, Pierre Soulages, Peter Halley, and Rashid Johnson et al. Weiner's work has also been seen at Museo Jumex, Museo Tamayo, Museo de Arte Moderno (CDMX), Athens Institute for Contemporary Art, 52 Walker, Mana Contemporary, Pablo’s Birthday, and UNTITLED Art Miami Beach.
He has participated in multiple residencies, including Kehinde Wiley’s Black Rock Senegal, where he was commissioned to produce work for Wiley's collection.
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Conceptual Framework
Weiner’s practice engages abstraction as a condition through which images shaped by media, politics, and circulation are processed and reconstituted. Rather than advancing a fixed ideological position, the work attends to how meaning is produced, distributed, and stabilized.
Autobiography, conspiracy, violence, discomfort, and decoration appear as overlapping structures through which images acquire legibility and affect.
Autobiography, conspiracy, violence, discomfort, and decoration appear as overlapping structures through which images acquire legibility and affect.
Materials and Operations
Recurring elements include the American flag, redacted legal documents, and generative imagery. These elements are operationalized as instruments that structure the work. The flag functions as both brush and ground. Legal texts are reconfigured as fields of partial information. Images move between disclosure and erasure.
Following the 2012 Aurora theater shooting, Weiner began working with redacted legal documents from the case, producing paintings that occupy a space between record and abstraction.
Following the 2012 Aurora theater shooting, Weiner began working with redacted legal documents from the case, producing paintings that occupy a space between record and abstraction.
Generative Systems and Circulation
Weiner’s engagement with generative AI operates as a recursive system in which physical works and machine-generated images continuously inform one another. Drawings become prompts, and generated images return as models through which authorship disperses.
These images circulate widely online where repetition, aggregation, and redistribution produce credibility independent of origin. As noted in The New York Times, the work explores the conditions under which A.I.-generated images function as visual disinformation and accrue belief through circulation.
Across platforms and institutional contexts, the work treats digital circulation as a primary site of meaning with the gallery as a secondary site.
These images circulate widely online where repetition, aggregation, and redistribution produce credibility independent of origin. As noted in The New York Times, the work explores the conditions under which A.I.-generated images function as visual disinformation and accrue belief through circulation.
Across platforms and institutional contexts, the work treats digital circulation as a primary site of meaning with the gallery as a secondary site.