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  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
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Saatchi Art
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Current Exhibition

Peter Peri EXHIBITED AT THE SAATCHI GALLERY

Blood Sucker
Peter Peri
Blood Sucker

2005

mixed media on canvas

76 x 61 cm
Peri’s canvases seem to extract a disquieting mysticism from their sparse pictorial fields. Within the pristine contours of his diagrammatical motifs, Peri interrupts the ascetic sterility of his surfaces with minute traces of intimate intervention. In areas the pitch density of his veneers spontaneously bubble over impasto under-painting or erode to leave an oil-stained effect; while delicately rendered lines and arcs shift imperceptibly in tone, some vanishing into nowhere, others interceding with trailing drips of paint. Through this subtle mediation, Peri’s work entrances with a rarefied elegance, creating a highly articulate abstraction that is both analytical and tactually elusive.
Infanta
Peter Peri
Infanta

2005

mixed media on canvas

153 x 122 cm
Peri’s grandfather was a well-known Constructivist artist and is a primary influence in his work. “I’m very interested in the roots of early Modernism, Suprematism, Dada/Constructivism,” Peri explains. “All the elements which were used to fill the gap left by the absence of the figure, e.g. the allusion to tradition as validation in compositional rigor, political commitment, the pseudo science of people like Pyotr Ouspensky concerned with higher knowledge, the 4th dimension etc.; and in the anxiety involved in that, the excess of stuff that gets poured into the sparseness of geometric abstraction. There’s something psychologically painful about looking at all that effort towards human advancement that was lumbered onto abstraction from where we are today. The pattern of the balls in this painting reminded me of Velasquez portraits of the Infanta. I liked the idea of them as desolate units forming into an absurd representation of a figure.”
The Call
Peter Peri
The Call

2005

mixed media on canvas

122 x 92 cm
“The title is from H.P. Lovecraft’s Call of Cthulhu,” Peri reveals. “I thought that the two circles had the look of sound waves, so this painting became about a relationship between a sound and a moment of visual appearance or birth. Lovecraft’s personal take on Futurism was a horrified one (in his story the call summons up a monstrous 4th dimensional creature and city) and I’m interested in that abyssal aspect of Modernism as a movement of new beginnings, its unfamiliarity, and the violence involved in the idea of abstraction. When I work I only use spray paint, silver marker pen and 4 colours; pink, yellow, green, and blue. I use ruled lines and stencilled shapes (the balls are made by spraying through a masking tape roll). The idea is to try to preserve that sense of violence and distance that not working freehand creates; I want to avoid them becoming expressionistic in a certain sense."
Slab Block
Peter Peri
Slab Block

2005

mixed media on canvas

122 x 91 cm
“A Slab Block is a type of housing estate block, like Corbusier’s L’Unité,” Peri says. “I wanted the implied monumentality of the title to apply to a fairly modest size painting. I grew up on an estate with lots of these blocks and I liked that this painting might be a messy ill-constructed attempt at making a structure that stands up and contains itself. I want the work to always show its construction: the thickness of surfaces built up, the ghosted lines of marks visible underneath the surface. I don’t want the paintings to be clean and flat in order to assert their contemporaneity, rather that they show a problematic depth and broken surface, which seems to me more appropriate for the history of abstraction. There’s a Markus Lupertz quote I really like, that “abstraction is like the apple of knowledge - once it’s been tasted there’s no going back", which I take to mean that now one has to circle around it somehow.”
Tunnel
Peter Peri
Tunnel

2005

mixed media on canvas

76 x 76 cm
“This is a very grid-like painting but the grid seems to be covering a darker hole which threatens its integrity,” says Peri. “The hole is a patch of gloss black over the rest of the surface which is matt black. This difference in paint finish is something I use a lot, it seems to posit depth - often there’s a grid at the bottom of the paintings too which indicates a rudimentary perspective. I think of that kind of illusionism as both a formal element to create interior space and a sort of armature to be disrupted.”
Village House
Peter Peri
Village House

2005

mixed media on canvas

102 x 127 cm
“Like Slab Block, Village House presents an idea of a precarious constructed unit, but at the opposite end of the architectural scale,” explains Peri. “I never start with a sketch or an idea, the paintings always come about from trial and error, looking for something new that seems to hold the picture surface in tension, I think a lot about the edges of the canvas and supporting them. The surface gets a kind of lacquered quality from the many coats of spray paint, but because I paint quickly, correcting and painting over things, it also gets very heavily worked and pitted. There’s this feeling of alternately revealing and hiding when I paint.”
The Hearing Forest and The Seeing Field
Peter Peri
The Hearing Forest and The Seeing Field

2006

mixed media on canvas

180 x 150 cm
“The title is from a Bosch drawing where a tree has ears and a field has eyes,” says Peri. “The idea of a problematic or absurd attempt at anthropomorphizing is important for me and I like titles that imply a bodily presence. I think I started to see the squares in this painting as possibly both holes in a structure and apertures looking out.” For Peri, these physical transferences or possibilities are inherent within his understanding of geometric abstraction, a drive to “discover oneself” in the work, and find one’s own place and position within art’s history and continuity.






Other artists in
NEWSPEAK: BRITISH ART NOW

Caroline Achaintre    Tasha Amini    Hurvin Anderson    Maurizio Anzeri    Jonathan Baldock    Anna Barriball    Steve Bishop    Karla Black    Lynette Yiadom Boakye    Pablo Bronstein    Alan Brooks    Carla Busuttil    Nicholas Byrne    Gareth Cadwallader    Juliana Cerqueira Leite    Spartacus Chetwynd    Steven Claydon    Clarisse d'Arcimoles    William Daniels    Matthew Darbyshire    Graham Durward    Tom Ellis    Tim Ellis    Richard Evans    Tessa Farmer    Marcus Foster    Robert Fry    Ximena Garrido-Lecca    Jaime Gili    Nick Goss    Luke Gottelier    Kate Groobey    Anthea Hamilton    Anne Hardy    Gabriel Hartley    Nicholas Hatfull    Iain Hetherington    Alexander Hoda    Sigrid Holmwood    Systems House    James Howard    Graham Hudson    Dean Hughes    Des Hughes    Mustafa Hulusi    Paul Johnson    Edward Kay    Idris Khan    Scott King    Ansel Krut    Peter Linde Busk     littlewhitehead    Alastair MacKinven    Goshka Macuga    Ryan Mosley    Rupert Norfolk    Arif Ozakca    Mark Pearson    Dan Perfect    Peter Peri    Olivia Plender    Henrijs Preiss    Ged Quinn    Clunie Reid    Barry Reigate    Luke Rudolf    Maaike Schoorel    Daniel Silver    David Brian Smith    Renee So    Fergal Stapleton    Clare Stephenson    Caragh Thuring    Phoebe Unwin    Donald Urquhart    Jonathan Wateridge    John Wynne    Toby Ziegler

Peter Peri's BIOGRAPHY

Peter Peri
1971
Born in London

Lives and works in London


EDUCATION


2001-2003
MA Fine Art, Chelsea College of Art, London

1991-1994
BA (Hons) Design, Central St Martins School of Art and Design, London


SOLO EXHIBITIONS


2010
Bortolami Gallery, New York

2008
Wave-Grain in the Wall, Carl Freedman Gallery, London

2007
ART NOW, Tate Britain, London
Hole Here, Galerie Giti Nourbakhsch, Berlin

2006
Country 10, Kunsthalle Basel, Switzerland
Overflow and Extinction, Counter Gallery, London, 2005
The Grey Point, Counter Gallery, London, 2004


GROUP EXHIBITIONS


2009
Black Hole, CCA Andratx, Mallorca
Classified: Contemporary British Art from the Tate Collection, Tate Britain, London
Modern Modern, Chelsea Art Museum, New York

2008
Space Now, Space Studios, London
Back to Black: Black in Current Painting, Kestner Hannover
Beyond Measure: Conversations Across Art and Science, curated by Barry Phipps, Kettles Yard, Cambridge
…same as it ever was, Painting at Chelsea 1990 – 2007, curated by Clyde Hopkins, The Arts Gallery, London

2006
How to Improve the World, 60 years of British Art - Arts Council Collection, Hayward Gallery, London
Motion on Paper, Ben Brown Fine Art, London
TOUTES COMPOSITIONS FLORALES, Counter Gallery, London
A Violet From Mother's Grave, curated by Matthew Weir,

2005
Emily Tsingou Gallery, London
We Disagree, Andrew Kreps Gallery & Wrong Gallery, New York

2004
Death & Magic, Keith Talent Gallery, London
East End Academy, Whitechapel Art Gallery, London

2003
Red Mansion Prize, Lethaby Galleries, London
Bloomberg New Contemporaries, Cornerhouse, Manchester &
14 Wharf Road, London
Private Property, 357 Kingsland Road, London

2002
Show Case 2, Lisu Gallery, John Islip Street, London
Morbid Geometry, Charlotte Street Gallery, London