Paul met Victor Spinski when he enrolled in the BFA program at the University of Delaware after losing his parents shortly after high school and working odd jobs for several years. At the end of a freshman term, during which Paul took a beginning ceramics course that involved handbuilding and throwing on the potters' wheel, Victor said, “Hey … I hope you sign up for class next semester!” and history began to unfold. Paul ultimately became Victor’s assistant and acquired skill and knowledge in creating molds, casting, and surface effects for his professor’s masterful trompe l’oeil ceramic sculptures. When the time came for Paul to move on with his career and education, Victor took him to a conference to meet artist, professor, and NCECA president James Tanner. Victor explained that Tanner could push Paul to dig deeper and develop his voice and vision.  Victor also thought it was important to study with a Black artist to learn how to navigate the challenges of being a Black artist in clay and the art world.

Paul soon left his lifelong home of Delaware and relocated to Mankato, Minnesota, where everything was different, even the color of the earth. “Tanner was very serious and philosophical in his work as an artist and teacher. He had me develop the discipline of keeping a visual journal, ultimately leading to my interest in imagery on clay. When winter came, and I stayed in the studio to keep warm, Professor Tanner ensured I had my first real winter gear. With Professor Tanner, you read your sketchbook to him in his office. We’d have a lot of one-on-one discussions during these times  …  some dealing with the grief and loss of my parents. I was in the studio early one morning.

When Professor Tanner came in and said,
“Hey, what are you doing?” 
“I’m glazing …”
“No, you’re not … When working on the clay surface, you need to think like a painter … You need to create the exact color and surface characteristics you want.”