What Happens When Paul Simonon Trades His Bass for Paint Brushes?

This article was originally published on 1 Minute Critic

The whole point of the LA Art Show is to demonstrate that different ideas can coexist under one roof without canceling each other out. Even decades later, the annual greatest-hits compilation remains committed to showcasing range with no regard for boundaries.

Bringing together more than 90 local and international exhibitors in 2026, director and producer Kassandra Voyagis welcomes back Rebecca Hossack Art Gallery from London, K+Y from Paris, and LICHT FELD Gallery from Basel, among several others. As for newcomers, Palm Beach's Provident Fine Art will make its debut with a collection of paintings by Sylvester Stallone — yes, that same one.

Additionally, the first-ever Latin American Pavilion curated by Marisa Caichiolo aims to broaden the LA Art Show’s coverage even further. Regarding the initiative’s timeliness, she said, “At a moment when immigration issues continue to disproportionately impact Latin American communities, it is especially important to provide a platform for these artists.”

It’s within this spread that Paul Simonon’s four paintings quietly resonate with unexpected force. Presented by John Martin Gallery, his works have a pull similar to that of the actor from Rocky. After all, what could The Clash’s bassist possibly need to convey on canvas that he couldn’t through his songs? With that mindset, his subject matter feels primed for easy parallels — punks wore leather, so of course the punk icon will paint leather jackets and boots. In other words, the overlap is evident if you insist on it.

What’s remarkable about these artworks, however, is how little they resemble his music when isolated. Unlike the speedy and pulsating anthems he is best known for, each piece exists in silence and stillness. This contrast isn’t a failure of translation, but proof of his razor-sharp focus and versatility. Instead of recycling his identity across mediums, Simonon moves his brush with an entirely different set of instincts.

The English stringman’s refusal to adhere to a single narrative makes it a natural fit for the LA Art Show. These paintings aren’t meant to dominate the rooms they occupy, but rather exhibit the value of restraint in playing your part and fulfilling a purpose. Instead of letting his worlds collide, Simonon makes sure to set down his bass before picking up a brush.

---