The works of contemporary painter Peter Moore can easily be recognized by the complexities of visual texture and elements of minimalist landscape forms. Zen-like in their simplicity, these works were intended by the artist to serve as spiritual portals through which viewers may loose themselves, transported from their homes and offices into a world of delicate balances and visual harmonies.

As early as four years old Moore’s talent was recognized and he was encouraged to sketch from his imagination rather than copy images from children’s books. Early sketches symbolized the sights and sensations of the ocean and the sky above, and soon more serious efforts resulted as he turned to painting. By age 10, the artist spent time studying with a private tutor in Northern California. Moore was accepted to a prestigious and progressive private high school dedicated to advancing the development of artistic skills and creative freedom and later attended the Art Institute of Ft. Lauderdale. Working in graphic and fashion design, Moore visited galleries and museums frequently for inspiration. Influenced by the artist’s of the “New York School” like Rothko, Motherwell and Jasper Johns, Moore created contemporary abstract work. By the mid 1980’s the artist experimented with cloud forms, but did not combine the two styles for several years to come.

From the framework of geometric shapes and richly colored panels one is drawn through the window to the open sky and dramatic cloud formations. “I once heard that a great painting can take you away from yourself for the moment, and when you return you have added something, a higher dimension to yourself that did not exist previously. This is what I am striving for in my work. I would like the viewer to feel transported to a new dimension or to a distant memory.” For many people the smallest spark can rekindle a visual memory and color can often be an emotional trigger. Mahogany, leather, amethyst, persimmon and tobacco create a palette that is sensuous and earthy. The open space created by the clouds draws in the light and air to create a nearly heady sensation. The far distance is a metaphor for the viewer’s future, and a gateway to the open heavens.

Applying the old world technique of glazing with oils, these paintings, although contemporary, retain a certain timeless quality about them. Each element of the canvas is painted separately before carefully brought into balance through multiple layers of thinned paints until a soft glow seems to unite the surface. When all surfaces have dried completely the bands of gold leaf are added as an element of tradition and a symbol of success. The end result is a work that could never be accomplished in one sitting as the layering of paint must be allowed to dry before the next one can be laid into place. This technique forces the artist to slow down, “working in this technique has a very meditative effect. I paint for a while and then I need to take the time to absorb what I’ve done before moving on to the next phase”. The result embodies the essence of sophistication combined with harmony, balance and the mystery of an open window.

Artist Statement

There is a lot of good information in the Peter Moore bio that describes my journey to this point including influence, education and technique. Below, I want to clarify my intent and purpose.

I am often asked, “What does your work mean? Or what are you trying to say in this particular painting?” The basic theme of my work is to create spiritual portals for viewers to become transported to another place and create meditative imagery that is both soothing and healing to the spirit.

I think it could be said that my inspiration lies in 20th century modern art, especially Marc Rothko and other “color field” painters that used negative space as a large part of their compositions. In studying the work and trekking to see the installation of their works in person, I was struck by certain atmospheric conditions and the similarities of contemporary art in many formats. In my first attempts to apply these kinds of techniques to my own designs, I was painting cloud forms and atmosphere alone, without the abstract elements included. But very few people seemed to truly understand the intent and artistic purpose that I was trying to achieve. If they just saw "clouds", they were missing the point – it was like hearing words without facial expressions or body language to complete the message. Eventually, I added abstract color fields to the cloud forms to create a much larger pictorial composition. The color fields divided the space and in a way created a framework for the open spaces, and acted to juxtapose the orderly geometric elements of man with the fluid elements of nature. This addition allowed the viewer to become much more connected to my artistic vision, like an actor adding body language to words. Then it all began to work.

The addition of the abstract color fields became a form of language which assists in the communication of the visual sensation that I am trying to convey. In the atmospheric cloud forms, I want to provide a portal or an opening and invite the viewer to feel free to enter into the painting which is abstract in nature, yet speaks a language which doesn't need lengthy explanations. The cloud forms are soothing and familiar, yet offer the possibility of something more powerful or ethereal. Perhaps the invitation to pass into the light exists, or to reach out to something spiritual. The work offers many possibilities. It becomes an open window.