Painting buildings has always been at the heart of Peter’s drawing and paintings. He works directly from the environment, often revisiting places many times and in ever changing weather and seasons.
“My work has become a direct response to the ever changing light, often changing with the weather. Changing my palette with mood and nature, from the black and brown hues of winter to the yellows and ochre of autumn. More so the bright and fresh greens, yellows and clear blue skies of springtime have special appeal in my working year.”
His paintings have been inspired by his immediate surroundings as well as his travels. Visits to North Wales, Cornwall and the Gower have resulted in a series of larger paintings that also aim to capture something of the essence of place. Peter works mainly in acrylics, embracing a range of techniques including glazing, impasto and direct painting.
“The beginning of any one of my works is a quick sketch or snap shot, often paintings made from a few quick lines filled with colour to help bring to life the experience of being at that place and finished with a pen line. A technique developed from my studies from college days. I often revisit places walking in different directions as the image changes as I see a new view point. There is always something to paint, but finding the image gives me inspiration to find others.”
Much of this latest body of work addresses the experience of being on his travels, often sketching the surroundings he observes during family holidays continue to strengthen his interest in the natural world whilst they also helped to develop a sense of awareness of the landscape and environment. His subjects are often incorporate the light, atmosphere and beauty of places he knows well. In all his paintings the aim is to convey some of this emotion to the viewer. Peter is most well known for his dramatic whitewashed cottages hidden behind stone walls, but he has painted further afield and hopes to continue doing so. He paints using layers of texture and colour to create an image on either card or canvas. In each painting he never quite knows what colour the sky or the landscape is going to be. It might take a week or might take a couple of hours depending on how the layers build up. He generally starts with a rough sketch in pencil and builds on that. It might be that there are several colours on top of each other – it’s not always the same painting.
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