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My paintings are meant to be pleasing to look at, and at the same time intellectually stimulating. For some, they are what they are--a window, a roofline a door ajar. For others, owing a large degree to my use of close perspective, they are thoughtful abstractions of lines and surfaces caught in the push and pull between what’s near and what’s far away. I elevate the simplicity of my subjects and invite my viewers to reach their own conclusions.
“Other works are simply so finally detailed that they might as well be photographs. In this category look for Peter Hussey’s lovely architectural study that will have watercolor enthusiasts shaking their heads in admiration.” — Bill Van Siclen, Arts Writer, The Providence Journal, March 2013
In conversations about my painting, I often volunteer that I am a frustrated architect. Viewers rarely disagree. Architecture calls to me for its simplicity. Structural details and their materials make for interesting compositions that when handled in different light are endless in their richness and variety.
As a painter with no formal training, art history has encouraged me to emphasize imagery over polemics. Beautiful colors and shapes can be brought together to create angst and tension. When they are used instead to create a more positive experience, my reaction is why not? We all yearn to spend time in the grip of the sublime. That my work might nudge a viewer in this direction is my modest hope.
For some, my paintings are what they are--a window, a roofline, a door ajar. For others, they are abstractions of lines caught in the push and pull between what’s near and what’s far away. I elevate the simplicity of the subject, but invite my viewers to reach their own conclusions.
Commissions and Loans:
Selected Group Exhibitions:
2017: 17th Elected Members Show, Art League of Rhode Island, Bristol Art Museum, Bristol, RI