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55 x 86 cms
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Is there something unique about painting that means we take it in differently from, say, photography? I'm still thinking about that after over five decades of making paintings. What is more certain is that I respond to paintings - and art more generally - that builds and gives you a definite reality yet which also seems to hint at other levels of experience. Painting I would have thought is very suited to doing this. (Peter Archer, 2019)
The seascapes of Peter Archer are psychographic in essence. There are two realities in Peter Archer's painting: one of the world around us and the other of the painting. Each has its merits and potential for meaning and beauty. Everything is turned into shape, line and colour. The artist may be perverse, since he tries to fix fleeting moments of reality - the same human need which led the first primitive man to leave the stamp of his hand on the walls of dark caves. A drop of rain when it falls disappears at once but can live on in a painting.
These paintings are not chunks of reality as such, or even recollected reality, but made by allowing the painting to develop it's own memory, as it's direction reveals itself under the artist's guidanceArcher builds paint surfaces that become fragments of the recognizable, emerging ambiguously, and evoking in the spectator experiences of the sea. They are love poems; sometimes calm and serene, sometimes full of awe and despair - but always sensuous and emotionally charged. (Andreas Karayan, 2012)
Peter Archer is currently based in France has had several exhibitions in the UK, Europe and New York. He was shortlisted for the Jerwood Prize and the Lynn Painter-Stainers Prize. His work is in the collection of the Royal Academy, the Arts Council, the University of Utrecht and corporate and private collections in Europe and America.