New York native Paul Rosenblatt is an artist and architect based in Pittsburgh, Pennsylvania. He is Founding Principal of an award-winning architectural firm, Springboard Design, whose work includes museum, exhibition, and public interest design. 

Throughout his childhood, Paul always considered himself to be an artist. Growing up in a small Manhattan apartment with an architect father, writer mother, younger sister, and a cat named Fluff,  he was buried in paints and brushes but never thought of pursuing art professionally. In a second generation immigrant family, art didn’t seem like a sustainable career model. Professions like law and medicine were careers that other smart, hardworking kids were destined to pursue. By contrast, he gravitated to pursuits like art and architecture, which he ended up double majoring in as an undergrad at Yale. Today, Paul leads a double life as both an artist and an architect. Each side of this double life informs the other.

After receiving his master’s degree in architecture from Yale, Paul focused exclusively on the practice of architecture for nearly ten years. In 1994, he began a creative collaboration with photographer JudithTurner that ultimately led to his re-entry into the art world. This has led to an art practice that has spanned more than 25 years. This practice focuses on spaces and structures that are controlled and not. The work has been featured in such places as the 2003 and 2014 Pittsburgh Biennials, National Academy of Art, SPACE, and in single artist installations at the Erie Art Museum, Lafayette College, West Virginia University’s Mesaros Galleries, and the Pittsburgh Center for the Arts.


As an architect, I am usually asked to design new spaces and structures for others, or to alter spaces and structures that they already own or occupy. By contrast, my artistic practice oscillates between constructing actual objects and spaces for myself as site specific installations and creating paintings of these and other constructed spaces and structures. 

In our daily lives, we all inhabit spaces and structures - both physically and figuratively in our imagination and memories. What we call our imaginations and memories are fabrications analogous to spaces we physically inhabit. Our minds have the potential to be memory palaces that we can revisit in our waking hours and during sleep in dreams. Paintings can serve as memory palaces, too, capturing and preserving furtive images might otherwise vanish from our memories while building sub-conscious connections  to deeper memories and understanding.

In recent paintings my intention has been to dissolve the line between real and dream space and structures. What was I listening to, reading, and thinking about? How can painting reveal deeply hidden memories and neural pathways? Through abstract representations of physical space, I am creating personal memory palaces of life and times.


  • Well Played, Pittsburgh Biennial 2014
  • Omnivorous, Mesaros Galleries, West Virginia University
  • The Parthenon Project, Erie Art Museum


  • Virginia Center for Contemporary Art
  • Pittsburgh Glass Center


  • Yale Art Gallery
  • National Academy of Art
  • Carnegie Museum of Art

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