Peter Webster

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Version 2
Breaking the Skin peter webster
Going peter webster
‘Loosed and Free (Diptych)’
2019, 40 x 71cm
Oil on Canvas
£950
‘Breaking the Skin (Diptych)’
2019, 40 x 71cm
Oil on Canvas
£950
‘Going (Diptych)’
2019, 40 x 71cm
Oil on Canvas
£950
Version 3
Distancing 1 peter webster
Distancing 2 peter webster
‘Dissolve’
2016, 45 x 40cm
Oil on Canvas, unframed
£770
‘Distancing I’
2019, 45 x 40cm
Oil on Canvas
£840
‘Distancing II’
2019, 45 x 40cm
Oil on Canvas
£840
During peter webster
Girl without a Pearl Earring peter webster
Junk DNA peter webster
‘During’
2018, 45 x 40cm
Oil on Canvas
£840
‘Girl without a Pearl Earring’
2016, 45 x 40cm
Oil on Canvas
£840
‘Junk DNA’
2019, 45 x 40cm
Oil on Canvas
£840
Left & Right peter webster
Mumbling peter webster
My Head Is A Shed 1 - Oil on Canvas - 45 x 40cms - 2016 copy
‘Right’
2017, 45 x 40cm
Oil on Canvas, unframed
£770
‘Mumbling’
2018, 45 x 40cm
Oil on Canvas
£840
‘My head is a Shed I’
2016, 45 x 40cm
Oil on Canvas
£840
Version 4
Ornament peter webster
Ornament With Gesture peter webster
‘My Head is a Shed’
2016, 45 x 40cm
Oil on Canvas
£840
‘Ornament’
2019, 45 x 40cm
Oil on Canvas
£840
‘Ornament with Gesture’
2019, 45 x 40cm
Oil on Canvas
£840
Seam peter webster
West Field peter webster
Zip Island peter webster
‘Seam’
2016, 45 x 40cm
Oil on Canvas, unframed
£770
‘West Field’
2016, 45 x 40cm
Oil on Canvas
£840
‘Zip Island’
2019, 45 x 40cm
Oil on Canvas
£840
Peter Webster - 'The Brothers (1)' - Oil on Canvas (45 x 40 cms) - 2014 - £1200
Peter Webster - 'The Brothers(2)' - Oil on Canvas - 45 x 40 cms - 2014 - £1200
‘Brothers I’
2014, 45 x 40cm
Oil on Canvas
£840
‘Brothers II’
2014, 45 x 40cm
Oil on Canvas
£840
[tab:biography]

My paintings explore the relationship between visual and verbal language.
Showing at Andelli Art is a series of small, relatively independent works that suggest moments, events, locations – even conversations. They are developed from an eclectic range of sources – photographs, small objects, press clippings, film stills, website screens, diagrams and information charts, even small, rough models of three-dimensional shapes from other paintings – and taken through a process of adjustment and refining through glazing and layering.
‘In any one painting, there will be a tension between surface and depth, a kind of push and pull with respect to the classical illusion of space – inevitably the indicator of a specific moment in time. It could be now, it could be then, it could be both. The decision is yours. They are open to the viewer’s tendency to ‘read’ in his or her own particular way.
Not all paintings would so richly repay an effort to think this metaphor through, to ask about the similarity and difference between language and painting, to consider the way in which the two media respectively draw from and re-constitute time and space, identify objects, define events, evoke memory and much more.’
Dr Nancy Roth (from an essay written in response to Thirty Paintings by Peter Webster at Newlyn Art Gallery 2014)

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