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 non-objective abstractions generally reflect a bold use of color.  I used linear references to add order and structure to my earlier works, but have gravitated toward “action painting” and “gesture.”  I’ve been told that my paintings have a certain lyrical quality that may reflect the ever-present music in my life.

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 frequently layered the works with washes and surface-altering appliqué.  I have now gravitated toward bolder, freer brush application of more generous amounts of paint and have allowed the paints to define the surfaces.
 
The extreme evolution that marked my first years of painting has slowed.  I now have more control of the technical aspects of the creative process 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. 

Along with the technical evolution, one of my biggest challenges has been to honestly address the question, “Why do I paint?”  I realize that until recently I had been overly concerned about and influenced by viewers’ reactions to my paintings.  Thanks to some tough, thought-provoking challenges from fellow artists, I have launched myself on a quest to add more intellectual content and personal commitment to my painting.  In this discovery process, I always return to the actual process of creation; it is here that I am permitted (or permit myself) to tap into my resources and use color, structure, palette, etc. to bring forth energetic creations that are uniquely mine.  These works are no longer attempted replications or homages, but are instead original and very personal visual reflections of my being.  I define them and they define me.  I can completely surrender myself to this creative process; and when I do, I am rewarded with tactile energy and direction that permits me to summon forth compositions that my conscious mind couldn’t possibly create.  It’s my belief in the process – the act of just letting go – that offers the entrée to the dream state often attributed to the creative process.

March 2009

Peter K. Brooks