She decided to use her first two names as her nom de plume in honour of John Clare the Northamptonshire poet because she played in Northampton grounds and spinneys he frequented in the last 20 years of his life.
Travelling to many Greek Islands, in particular Crete; to Turkey, Lebanon, Jordan, Egypt and Italy enlarged her subject matter and, marinaded in the poetry of her chief influence, Gerard Manley Hopkins, in 1966 she evolved her non-linear style 'mobile poems' that invited 'all present' to vocal participation.
He invited her to present work with him, in particular at the seminal ?concrete poetry exhibition, Stedelijk Museum Amsterdam 1970; the ICA launch of Kroklok with Dom Sylvester Houedard 1971; subsequently founded Konkrete Canticle for them to record a vinyl LP for when the show toured GB.
In the 1980s she was invited to several short Residencies at Texas Tech University Electronic Music Studio with Steven Paxton: they produced her first CD The Dundee Telegrams And Other Communications (1990).
Paula Claire had a long, creative relationship with eminent poet and art critic in Rome, Mirella Bentivoglio (1922-2017), who pioneered the recognition of international female exponents of sound and visual poetry with many group exhibitions in Italy, the most important Materializzazione del Linguaggio, Venice Biennale 1978.
Since then she has created site-specific performance pieces for fields, gardens, orchards; and major buildings, in particular exploring with many voices the acoustics of Exeter, Ely and Oxford cathedrals.
The 2nd issue of Tinted Window magazine contains detailed articles about the major significance of this exhibition including an interview with Paula Claire and historic photographs of her from the Venice Biennale Archive.