American artist, Paul Rousso, uses heat infusion on plexiglass to create hyper-realistic, hyper-sized, sculptures of crumpled money. The pieces of American dollar bills as well as international currencies reach dimensions of 4 feet by 5 feet, that can be gloriously hanged on the walls. Aside from currencies, Rousso also sculpts other discarded items such as candy wrappers and magazine pages, all in massive sizes. For all of the production and manpower exerted in the crumpled appearance of these objects, Rousso's satire lies in inflating their size to inescapable proportions.


His practical experience in visual art was kick-started with stints as art director and freelance illustrator for Revlon, Clairol, Condé Nast, and Bloomingdale’s. He was also commissioned for a special project with the Time Warner Cable Arena in Charlotte, North Carolina and as part of an interior design team for the home of Robert De Niro. His work has been exhibited in galleries and museums in Atlanta, Charlotte, Los Angeles, New Orleans, Houston and Miami.






To me it seems quite logical that eventually in the progression of art, someone would do away with the illusion of three-dimensional space and paint the mountain in the background exactly as the tree in the foreground. Cezanne's work at the time was quite shocking for the viewer of his art, as they had never seen anything like it before.


Another common theme that I believe ties all this figurative work together is that the artist is doing a painting of something. If the artist is not doing a painting of something that is in and of our world it is very likely that this painting is an abstract painting. It is unto its self, its own image, not of anything other than what the artist created. These are the two sides of the coin in painting, the figurative and the abstract.


There are many shades from one end of the spectrum to the other, but everything has an opposite. My work is about finding what comes next.”