I have change the way peterbright.info works – take a look
Still Life is a Still life in paint
Over the next few months a series of ‘still life paintings’ will be offered for sale. This follows on from my successful participation in a (private / invited) exhibition that was held earlier on this year in Rugby.
I have been inspired to paint, people have excited me and non-verbally encouraged me. I saw a painting by Renoir entitled ‘Onions’ at the Royal academy a few years ago…
Onions, 1881 is a painting of just six plain onions and some garlic and is a remarkable sensuous still life, their papery skins explode with colour and shape, making something from the ordinary magical and interesting. The lack of content and minimal subject matter belies the exuberant and controlled, skillfully executed gem. I wish I had painted it. Read more…
A Still Life is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural (food, flowers, dead animals, plants, rocks, or shells) or man-made (drinking glasses, books, vases, jewellery, coins, pipes, and so on). With origins in the Middle Ages and Ancient Graeco-Roman art, still-life painting emerged as a distinct genre and professional specialisation in Western painting by the late 16th century, and has remained significant since then. Still life gives the artist more freedom in the arrangement of elements within a composition than do paintings of other types of subjects such as landscape or portraiture. Early still-life paintings, particularly before 1700, often contained religious and allegorical symbolism relating to the objects depicted. Some modern still life breaks the two-dimensional barrier and employs three-dimensional mixed media, and uses found objects, photography, computer graphics, as well as video and sound.
The painting above was painted around 2002 / 03 by Peter Bright (more)
The Genetics of Painting?
There are various ways of making Paintings to recipes, each becoming a question of process and discovery, controlling chance, arranging colour with simple brush strokes, dragging or pouring paint across the surface to reveal a vast range range of effects. The act of painting can be reduced to its most simple and material elements, new materials can be discovered and played with……Is this really painting?….. what is the process/purpose of the creation? Behind the rhetoric and bullshit there must be a reason….otherwise YCRE8.
Peter Bright – Artist Statement (these snippets could be mine)
Words taken out of context lose their meaning. Publishing documents that contain controversial language puts the author at risk. Any constructed environment can promote alienation, but it can also enhance communication to form a quasi-organic platform for human interaction. The fact that most of us have an on-line persona suggests that computer communication enables us to visit places and have discussions with people we would normally avoid. We are engaging in the pseudo-anonymous system/society. Underground activities have migrated out of analog media (the printed word, film etc.) into ‘this world’. This world has evolved into a global system with multiple layers in which new authorities compete to control its uses; platform wars, chip races, and operating system alliances. The pseudo-identity of the user is being exposed; law is punishing non-conformity, censorship and the rules of globalization have invaded the system. The Klondike Spirit has taken over the open system and turned it into the homogenized high street we all know.
(A non-homogeneous system, whose terms and relationships are not constant, allows language to break up, to stumble over the rules of its grammar, by necessity it has to respond radically to other linguistic components, creating a new linguistic order and syntax. )
Memories: Renoir, dead birds and rubber gloves, stolen kisses, life, stillness, pouches of Chinese fresh drinking water, broken dreams, lost lovers, onions, sections of discarded fishing nets strewn across the tourist beach, lovers in the darkness groping for the dark, hands first finding spaces, then they find there mark, my father, my ghost, my hopes and dreams, stinking of rotting carcasses [Read More]
Paradigm: Clients are always shocked when I suddenly present to them a ‘painting from life’ – I appear to produce slap-dash imagery as my main artistic process, this isn’t because I haven’t mastered the basic fundamental skills of ‘traditional’ painting and drawing because I have and I am more than able to produce paintings in a typical style or pattern of work; a pattern or mode of working, arranged in order to form semantic constructions and express relations(hips) to the real world.
It is strange which images (paintings) people like to buy of mine. I always thought I was operating on the edge of the creative spectrum but it appears my realistic(ish) daubs are more successful.
The glint in the eye is the marker you see before you pull the trigger – eyes are the beacon of life and death.
‘Another Pheasant Bites The Dust’ – oil paint on paper 2014
I love Prussian Blue because of this myth – not because I like the colour
Prussian Blue has got to be the best colour in the world, a colour that allegedly Paul Gaugin borrowed from Emile Bernard to paint his ‘Vision After The Sermon’. His Impressionist palette didn’t contain this glorious hue.
Looking back at old paintings you have done in the past is like looking at old photographs
Vision after the Sermon (Jacob Wrestling with the Angel) is an oil painting by French artist Paul Gauguin in 1888. It is now in the National Gallery of Scotland, Edinburgh. It depicts a scene from The Bible, where Jacob wrestles an angel. A vision or hallucination that the Breton women experience after a sermon in church. Painted in Pont-Aven, Brittany, France – the inherent spiritality of subjects in this painting, the influence of the cloisonnist style, all point towards a great painting and a break through in 19th century art.
This is one of those paintings I needed to see – it was an important turning point in art history. The bold use of colour was deep rooted and part of the bedrock of the Synthetist style of modern art – an extension of the pioneering vision of other artist including Emile Bernard.
A few years ago (4) I did a series of paintings that were shown at Broomhill Art Hotel, this series was called “Deep Water”. I managed to sell quite a few of these.
I have had to go and check my storage unit out and found (I had forgotten about them) three that were not exhibited in the 2010 exhibition (one is in the photograph, in the frame). I also found several unfinished canvases that I had started and never finished from the same year.
I have always preferred to work outside – it is a beautiful day so…..let’s finish the little buggers.