Peter Peri

Uncting


London, Savile Row

Opening on Tuesday November 22nd, 2016
from 6 to 8 pm

  • , Ripe Leaf (second version), 2016
    Marker and spray paint on linen
    120 x 75 cm
    47 1/4 x 29 1/2 inches
  • , Thief, 2016
    Marker pen and spray paint on linen
    154 x 78 cm
    60 5/8 x 30 3/4 inches
  • , 22/11, 2016
    Marker pen and spray paint on canvas
    175 x 145 cm
    68 7/8 x 57 1/8 inches
  • , Bodies, Bodies, Bodies, 2016
    Marker pen and spray paint on linen
    161 x 71 cm
    63 3/8 x 28 inches
  • , Ripe Leaf, 2016
    Marker pen on linen
    120 x 95 cm
    47 1/4 x 37 3/8 inches
  • , Head (Weeping Woman), 2015
    Graphite on unbleached paper
    113 x 77 5 cm (framed)
    44 1/2 x 305 1/8 inches (framed)
  • , Reclining Woman (Spiral), 2016
    Graphite on unbleached paper
    53,5 x 98 cm (framed)
    21 1/8 x 38 5/8 inches (framed)
  • , Adochka, 2015
    Patinated steel and concrete plinth
    109 x 17,5 x 4 cm
    42 7/8 x 6 7/8 x 1 5/8 inches
  • , Adaleida, 2016
    Patinated steel and concrete plinth
    116 x 32 x 7,5 cm
    45 5/8 x 12 5/8 x 3 inches
  • , Ada, 2015
    Patinated steel and concrete plinth
    156 x 18 x 6 cm
    61 3/8 x 7 1/8 x 2 3/8 inches
  • , Skeleton woman (reclining), 2013
    Graphite on unbleached paper
    59 x 107,5 cm (framed)
    23 1/4 x 42 3/8 inches (framed)
  • , Moon-face, 2015
    Patinated and silver plated steel
    150 x 30 x 10 cm
    59 x 11 3/4 x 3 7/8 inches
  • , Romanesque Study, 2016
    Graphite on unbleached paper
    33 x 45 cm (framed)
    13 x 17 3/4 inches (framed)
  • , Reliquary, 2016
    Graphite on unbleached paper
    34 x 40 cm (framed)
    13 3/8 x 15 3/4 inches (framed)

Press release

The Less You Know

 

Outline for a story that isn’t a horror story, though it might at first resemble one: The painter paints—an abstraction, a grid, a controlled Cartesian situation. At close of working day, he flips off the studio lights, goes home. The painting, after dark, creaks and stirs: under silvery moonlight, the lattice detaches from the canvas, shimmies, strikes angles, overlaps and doubles itself. Soon there are two grids, differentiated. They converse and, in the conversation, recursive thinking transpires. As night hours go by, the painting gets smarter, its parts conspiring, mind developing and bending idiosyncratically. Morning. Studio lights flash on, the painter steps in. The painting, startled, freezes…


Due to the Coronavirus outbreak, all galeries are temporarily closed to the public, but remain accessible by appointment.