Paul Curtis is a Liverpool‑based street artist whose work has become part of the city's visual identity. Since starting out in 2017, he has completed more than 250 pieces, ranging from commissioned street art to large‑scale murals.

Although his work appears spontaneous and public facing, the vast majority of it is legally commissioned, which brings both opportunities and creative constraints.

Unlike graffiti artists who often enjoy complete freedom, Curtis explains that true artistic autonomy is rare in commissioned street art. Most projects come with conditions: subject matter, location, and tone are usually defined in advance. Complete creative freedom, he says, is the exception rather than the rule.

Beginnings on the street

Curtis did not begin his career as a street artist. He started by painting murals indoors, initially in bedrooms, while searching for work after being made redundant. This followed a 14‑year career as a geologist in the North Sea oil industry. Painting was, at first, a way to pass time and perhaps make a little money whilst looking for a 'real' job.

That changed when he decided to take his work outdoors. His first street piece, For All Liverpool's Liver Birds, depicted a pair of copper-oxide green wings. The colour was a direct reference to the Liver Birds, the symbol of Liverpool. When painted back in 2017, wing murals were not as ubiquitous as they later became, and their appearance was a huge hit with locals and tourists alike.

The wings, inspired by Liverpool itself, were designed to appear anatomically to scale and therefore have greater visual impact. The popularity of the work was quite amazing and by the following day, images of the mural had spread widely on social and traditional media and eventually the road had to be closed as so many people were coming to the location for photographs.

For locals, having a photograph taken with the wings became a badge of identity and proof that you were 'really from Liverpool'. At the same time, it became a popular destination for tourists. The reaction transformed Curtis's career almost overnight, generating attention, commissions, and professional opportunities.

From viral moment to professional practice

The success of the wings mural allowed Curtis to transition fully into professional practice. Among those photographed with the work were Olympians, including Katarina Johnson‑Thompson, as well as prominent public figures such as Paul McCartney, Jamie Carragher, and even the Queen, who personally requested a photograph. Although the mural was public and accessible to anyone, Curtis found himself unexpectedly navigating royal protocol.

Despite this sudden visibility, Curtis is keen to emphasise that he is not formally trained. Aside from a GCSE in art, his skills have been developed through practice. Over time, he believes he has accumulated the equivalent of the '10,000 hours' required to master a craft.

How street art is made

Curtis outlines three core techniques commonly used in mural and street art today.

The oldest is the grid method, in which an image is divided into sections and scaled up onto a wall. When Curtis started as a muralist, this was his approach, but he quickly realised that there were more efficient ways to upscale art.

The projector method allows artists to project an image directly onto a wall, making it quick and accurate. This works well indoors, such as in bars or enclosed spaces, but can't really be utilised on large exterior walls or in situations where it is impractical to use a projector.

The most widely used technique today is the scribble method (also known as the doodle method), which Curtis observes is employed by most contemporary street artists. This involves covering a wall with abstract marks, photographing it, and digitally overlaying the intended image.

The scribble method on the Katarina Johnson-Thompson mural

The artist then works directly onto the wall, using the shapes as guides for proportions and placement. This method is especially useful for portraits of well-known people, where minor inaccuracies will easily be detected by viewers.

Curtis notes that some subjects require more precision than others. Natural elements such as trees or flowers allow for more improvisation, where small changes go unnoticed. Portraits, particularly of famous people, demand absolute accuracy.

Working with architecture

One of Curtis’s most ambitious works, in Ainsdale near Southport, is the largest mural ever painted in the UK by a single person. The building was highly irregular, filled with windows, recesses, and architectural features that made simple scaling impossible.

Rather than relying on the scribble method, Curtis used the structure itself as a guide. Windows, corners, and edges acted as reference points. This approach reduced the need to constantly come down from the cherry pickers to step back and check the progress of the image and helped maintain perspective across a complex surface.

Perspective plays a crucial role in large works. Curtis explains that many murals are designed to look correct from a specific viewing position. From that spot, all the visual lines align; from elsewhere, the image may appear distorted. This is not accidental but an intentional use of spatial perception. Sometimes, especially on very high murals, a false perspective is employed, so that the image is actually larger at the top of the mural. This gives the effect, that many people comment on, that it feels 3D or that the image is popping off the wall.

Commissions, pressure, and representation

One of Curtis's most significant commissions was a mural of Katarina Johnson‑Thompson, commissioned by British Gas, ahead of the Olympic Games. The project involved extensive planning, difficult permissions, and careful collaboration with the athlete herself.

Curtis is acutely aware of the responsibility that comes with painting real people, particularly when families and communities are involved. He reflects on earlier works where his realism may have been interpreted as unflattering. Over time, he has learned that representation often requires generosity as well as accuracy.

Finding a visual identity

In his early years, Curtis experimented with darker, film noir‑influenced painting styles that reflected his personal taste. However, he quickly discovered that such aesthetics did not translate well to public space. Street art often operates in neglected or overlooked environments, and bright, uplifting imagery is more effective at revitalising those areas.

Liverpool's cultural identity has also shaped his career. The Beatles, in particular, remain a dominant force in the city's visual economy. While Curtis is a fan and acknowledges that Beatles‑themed work brings commissions, he also recognises how it can limit opportunities to explore other subjects.

One of the restrictions of commissions is that the clients often want something that links to art and culture from the past. This is an understandable, safe option and working in Liverpool, a city with a rich history, it is a frequent request. Ironically, it is often smaller towns, with less of a history to call upon, that are more open to creating something completely new.

Looking back and forward

Curtis's journey from redundancy to recognition has been anything but straightforward. Early commissions often paid well below minimum wage, a sacrifice made to gain visibility and hone skills. Over time, strategic decisions, particularly the choice to create work with strong public appeal, helped him build a sustainable career.

Learning to say no can be more valuable than agreeing to do all requests. Curtis also keeps a list of artists who are looking to grow and gain more experience, so he will often suggest these artists for projects that he himself is unable to do.

For Curtis, street art is as much about negotiation as creativity: with buildings, with clients, with public expectation, and with history. The walls may not be chosen freely, but within their constraints, he has learned how to let them speak. You don't get to pick a canvas off the shelf, but the quirks of each building often lead to unexpected creativity.

You can find more of Paul's artwork on his website.

None of this would have been possible without the invaluable contribution of Art UK's public art volunteer network and the generosity of our project funders.

You can explore over 6,500 murals on the Art UK website and in these marvellous murals Curations.

Tracy Jenkins, Art UK Public Art Manager, and Paul Curtis, artist

This content was created as part of the Art UK Murals Digitisation and Engagement programme

Publication of this story was made possible with funding from The National Lottery Heritage Fund, with thanks to National Lottery players