As globalism and austerity continues to wreak havoc through Europe and beyond. Homelessness has become an epidemic, those affected find themselves pushed further into societies shadows. Their plight eclipsed by the horrors of war, terrorism and the subsequent exodus of refugees into Europe. This work - inspired by personal experiences with homelessness and addiction - seeks to bring the homeless person into a humanising light

Perhaps Paul Hynes-Allen’s work up to this point may be most succinctly brought into
comparison with the key detail of Max Ensor’s grand masterpiece “The Entry of Christ in Brussels”. The suddenly erotic exposure of white-pink skin open to the cold Berlin air of a white-bearded man posed like Neptune before the gush of a watery color advertisement in a Hynes-Allen portrait brings to mind the slash of Christ’s face focused entering in the distant point just beyond the crowd in Ensor’s painting, which is almost eclipsed by the mass social protest threatened by the stone-heavy slogans flapping above them. The expression of loss as gain in both Ensor’s art work and Hynes-Allen’s oeuvre is one of hilarity, - namely the hilarity of a freedom from having to fulfill the paradigms of the past future in the face of the ruins of the present. This, even as the ghosts of the past hierarchy are being evoked as an endpoint, after which everything is freed - from being kitsch or not. (Mechcatie, Oliver, Unpublished essay, The Circles Edge, 2016.)

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