In a reversal of process, Paul maps the space occupied by classical Greek sculpture. Transforming the resulting geometric, two-dimensional forms into sculpture, Paul uses a rigorous formal language, without refuting representation altogether. Paul takes the classical chiastic pose, which depicts a balance between tension and rest, as the starting point for these works. The chiastic pose was a major development in classical Greek sculpture, as it represents the first time the human body was used to express a psychological state, with the weight of the body on one foot suggesting a relaxed appearance. Paul uses the chiastic pose to allude to classical sculpture in general, rather than to specific works. The bulky geometric constructions of Pythia are stark in contrast to the delicacy and detailed carving of the classical sculptures from which they take their form, alluding to their starting point as crude blocks of stone and to the subsequent fragmented forms that many classical sculptures have deteriorated into over time. The temporality of these classical sculptures is an important consideration for Paul, who uses gold paint and gold bronzing powder in the grouted seams of Pythia, to instil this work with a feeling of temporality. Gradually, the grouted seams will turn a mineralised turquoise, developing a patina similar to Pythia's classical forbearers and encouraging one to consider how value is ascribed to these objects.