Peter Fox Releases Paint Into A Dizzying Array of Psychedelic Patterns
This painting is featured in a solo exhibition at the Front Room Gallery. With this series of new paintings, Fox has reduced his palette to earth tones, which accentuate the natural contrasts in burnt siennas, dark browns and yellow ochres with the cool blues of Payne’s grey. This series delves into the artist’s sub-conscious; created in a controlled self-reflexive state, the surface forms and gestures are defined by the act of application itself.
Peter Fox’s style of painting involves layering processes, reflecting the conceptual layering that underlies the larger project. These works develop and explore relational color constructs, mediated through formal systems which reference automatic drawing, abstract painting and process art.
There is a tension created between the physical depth of the material surface of the paintings and the illusion of depth. This surface tension draws the viewer into a field of vision that creates a transfiguration of the forms into seemingly recognizable imagery and narrative references. This illusion is a construct of the viewer as Fox maintains no representational references in these processed based works.
Signature: on reverse
Image rights: Peter Fox and Front Room Gallery
Featured in "Surface Tension" solo exhibition of abstract paintings by the artist, Peter Fox
In paintings ranging from abstract to figurative, Peter Fox addresses the nature of representation and the history of art, referencing movements such as surrealism, pop art, and abstract expressionism. He works in series, using acrylic and oil paints on canvas or paper. In a nod to surrealism, Fox once produced a suite of 10 thousand automatic drawings. His earlier works are more representational than his later ones, and feature images of Bart Simpson and Marilyn Monroe. Among his recent works are drip paintings, which he makes by dropping multicolored globs of paint onto tilted canvases to create tactile, brightly colored surfaces that read as a cross between op art and abstract expressionist compositions. Speaking of his process, Fox has said: “Through observation and repetition, I gain a degree of control over the accidents I encourage.”
American, b. 1962, Philadelphia, Pennsylvania, based in Brooklyn, New York