When I began painting in 1997, I found this new adventure to be both exhilarating and highly chaotic.  Strongly influenced by the works of many mid-Twentieth Century artists, particularly the Abstract Expressionists, my initial creative efforts were both consciously and subconsciously derivative.  As I experimented, a style of my own eventually began to emerge.  My paintings are non-objective abstractions that generally reflect a bold use of color. I aspire to stimulate visceral viewer reactions.  Many of my works derive structure and order through linear references, yet my primary orientation is toward “action painting” and “gesture.” If I find myself painting within boundaries that I’ve created, it’s time for me to step away from the canvas and try to think in terms of painting outside the lines.  I’ve also come to realize that my paintings have a certain lyrical quality that I believe reflects the ever-present music playing in my studio.
         
My medium is acrylic on canvas, and my techniques have been evolving.  Prior to 2006 I applied the paints by brush, sponge, knife, hands, and aerosol spray and some of my work reflected a layering and texturing with washes.  I also frequently used surface-altering materials like pieces of raw canvas, gauze, cheesecloth, pumice, paper, linerboard, balsa wood, etc., but I have now gravitated toward heavier use of paints and have allowed the paints to define the surfaces.  My recent works clearly reflect a bolder and freer brush application of paint. 
         
The extreme evolution that marked my first years of painting has slowed.  I have more control of the creative process now and am pursuing themes and creating series of paintings.  At the time of my 2002 “Embracing the Accidental” show, I felt my work had approached a state of some equilibrium between control and the accidental.  By my 2004 “Just Let Go” show, what had been “accidental” had become more deliberate - and that trend has continued and has been reflected in several subsequent shows and exhibitions.  But my role in the process still continues to mystify me.  When the creative process begins I feel like I’m in a dream state, serving as an execution vehicle for channeled ideas and energy coming from places unknown.  I may approach the canvas with my own game plan, but quickly discover that intended brush strokes become knife applications, reds become blacks, and straight lines turn curvilinear, and so on.  While the journey may be unmapped, my actual execution has become decidedly more deliberate and technically disciplined and, I believe, more confident.  This creative process is very exciting for me, and I can only wonder at the ideas that come into my head…I hope they never stop.

April 2008

Peter K. Brooks