The gallery presents an exhibition of recent works by Peter Joseph.
If the names of David Hochney, Lucian Freud, Frank Auerbach or Briget Riley are famous, we know less here in France that of Peter Joseph who is nevertheless considered one of the great British artists of his generation.
The abstract painter Peter Joseph was born in London in 1929. He was recognized, in the 70’s, for his paintings, of simple and formally symmetrical forms in a color palette carefully studied, two colors, which place a rectangle in a frame of a darker shade. His works are characterized by perfect symmetry, where color and proportion can be perceived as an expression of time, mood or place. Subsequently, the two-size cut-out color paper shaped the pattern for paintings that Joseph worked for over 25 years. Its format has moved away from the “architecture” established to divide the canvas into two planes, horizontally or vertically.
“The painting is not just color. It’s light and air that I try to put on the canvas, shade and light … I try to paint the atmosphere, to paint the light itself. “
Looking at his new paintings we immediately think of Peter’s affinity with the sky and the landscape, from his studio in Stroud where he lives and works, a small town in Gloucestershire, UK. There is henceforth a freedom in the composition, where the touch becomes both dynamic and flexible, leaving in many places unpainted areas, creating a new space, an emotion.
Dark Blue, Lemon and Pink (May 2017) is one of the paintings in the exhibition. All forms in this painting are piled up like a series of rectangles with rough edges, four roses below and after a white interval, with a blue shape and a yellow form meeting diagonally. Each rose is different, and approaches in the tone, arriving spatially in subtly changing planes. The blue and yellow contrast created above is entirely different, although the blue and the stronger pink alternate to attract attention visually, just like the yellow, depending on where the viewer focuses on the canvas and succeeds in integrate relationships between each party. The visible pencil lines trace the exactly enlarged shape of each element of the collage model. This strategy introduces a distancing from an intuitive and improvised process, without diminishing the lightness of the touch, the unexpected and the brightness in the finished painting.
Light Orange, Green, Blue, Lemon, Mushroom, Turquoise (November 2016) recalls abstractly a view of an interior through a window to a landscape beyond. This time, the shapes completely fill the canvas, each color being taken into account in the title. The pencil lines are again visible, guiding the rectangular limit of stained color.
Peter Joseph’s works can be found in many international public collections: Tate Gallery and Arts Council of Great Britain, London, Zurich Kunsthaus, Stedelijk Museum, Amsterdam, Walker Art Gallery, Minneapolis, Fogg Art Museum, Philadelphia, Solomon R. Guggenheim Museum, New York. Among his most important solo exhibitions are those presented at the Hayward Gallery in London, the Chicago MoCA and the Museum of Modern Art in Oxford.