I like to compare color and technique with music and rhythm, the
subjects and compositions with lyric and poetry. I just want to invite
the viewer to remain in front of my paintings, not feel rejected by
them. The longer they linger, the better my chance to communicate with them. I prefer to paint moods, in color, so the viewer gets a sense, rather than just a view, of what is being felt.
Artists, composers, singers, dancers or writers all have a memorable effect. But sometimes, it is more valuable to notice something not quite so obviously stirring. Often just by a glance - at the fashion section of a magazin, the non-posed images of particular models backstage, the structure of their faces still appealing to the light at moments when they are less self-conscious and distracted from anyone else.
This all could be a singularity that helps me for a painting to have its own story. The added benefit is, that I feel I have noticed something that someone else might have missed.
I like to sketch in acrylic because it dries quickly and allows me to follow my impulses. Than I finish my paintings off in oilpaint.
The women and man in my paintings are my memories of those I once saw or met - their mood often somber and brooding. My paintings are dark, because I try to only give an idea, a feeling, not every detail. Painting is a wonderful way of communicating. It can be hard to explain everything that I feel and, in some way, people understand when they look at my work better than I could ever say.
Besides writing books and painting oils, Peter works in the IT-business in the ancient Hanze-town of Deventer, the Netherlands, and lives in the nearby village of Twello with his wife, his son and his son's most beautiful Icelandic girlfriend.
His website: www.cfwebforge.com/art