Artists null
Peter Wayne Lewis

Peter Wayne Lewis 1953 Born in Kingston, Jamaica
1962 Emigrated from Jamaica to Panama. Lived in Canal Zone. Moved to Sacramento, California.
1976 San Jose State University, San Jose, California. Bachelor of Arts; Art (Painting).
1979 San Jose State University, San Jose, California. Master of Arts; Art(Painting).Vice-President, San Jose Art Center, San Jose, California.
Click image to see original size of each work.
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"Night Crossing" 1990
"Blue Swan #19"
"Voyage" 1992
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"Phisical Geography" 1991
"Blue Swan #24"  

Solo Exhibitions

1979 "Decadence and Permutations" San Jose State University, CA
"Paintings" San Jose Art Center, San Jose, CA
1984 "Paintings" Factory Place Gallery, Los Angeles, CA
"Paintings" Triton Museum of Art, Santa Clara, CA
1986 "Paintings" San Jose Museum of Art, San Jose, CA
"Paintings" Freeman Gallery, Palo Alto, CA
1987 "Recent Abstract Images" Monterey Peninsula Museum of Art, Monterey, CA
1988 "Paintings" Bruce Velick Gallery, San Francisco, CA
"Abstract Painting" Ahlone College Art Gallery, Fremont, CA
1989 "New Paintings" Jennifer Pauls Gallery, Sacramento, CA
"Paintings" d.p.Fong Gallery, San Jose, CA
1990 "Works on Paper" Kunsthaus Ostbayern, Viechtach, Germany
"Works on Paper" d.p.Fong Gallery, San Jose, CA
1992 "Paintings" Kunsthaus Ostbayern, Viechtach, Germany
"The Substance of Painting" d.p.Fong & Spratt Galleries, San Jose, CA
1993 "Stammtisch Paintings" Kunst/Raum, Stuttgart, Germany
"Paintings and Small Works" Werndl Corporation, Rosenheim, Germany
"Koto Cycle Works" A & M Art Gallery, Chiba, Japan
1994 "Sumerian Farewell Paintings" Frederick Spratt Gallery, San Jose, CA
1995 "Blue Swan Suite Paintings" Rosenberg+Kaufman Fine Art, New York City
"Blue and Black Swan Suite Selections" Parish Gallery, Washington, DC
"Black Swan Suite Paintings" Frederick Spratt Gallery, San Jose, CA
1997 "Replicant" Rosenberg+Kaufman Fine Art, New York City
1998 "Viechtach/New York" Galarie Weber, Viechtach, Germany
1999 "Caribbean in my Sol" Montclair University Art Gallery, Montclair, NJ
2000 “Fields” Rosenberg + Kaufman Fine Art, New York City, NY
2002 “Dreams” Parish Gallery, Washington, DC
2003 “Strings” Rosenberg + Kaufman Fine Art, New York City, NY
“Paintings” Stella Jones Gallery; New Orleans, LA
2006 "Strings Paintings" N.Y. Arts Gallery at Beijing, Beijing, China
2008

“Peter Wayne Lewis – Booster Paintings” STADTIDCHE GALERIE IM CORDONHAUS, Cham, Germany
“Strings Genesis” 40 Acres, Sacramento, CA
“Grand: The Booster Paintings” Jay Jay Gallery, Sacramento, CA

2009

“Peter Wayne Lewis Paintings: GREETINGS FROM KINGSTON/NEW YORK” Pickled Art, Unit # 1, Beijing, China
"Peter Wayne Lewis Exhibition" PROMO-ARTE, Tokyo, Japan

2010 “Peter Wayne Lewis: Beijing Homage” Green Tea House Galleries (both locations), Beijing , China
2011

“PAINTINGS FROM MIDDLE EARTH PART 2" Matthias Kuper Galleries Beijing | Stuttgart, Beijing, China
“PAINTINGS FROM MIDDLE EARTH PART 1" JayJay, Sacramento, CA


Group Exhibitions

1978 "Gallery '78" San Jose Convention Center, San Jose, CA
"Prints and Drawings" San Jose Art League, San Jose, CA
1979 "Gallery '79" San Jose Convention Center, San Jose, CA
"Gallery '79" Triton Museum of Art, Santa Clara, CA
"Studio Art" Union Gallery, San Jose State University, San Jose, CA
1981 "International Art Exhibit Mexico Viva" Quinta Loreto Casa, San Miguel de Allende Guanajuato, Mexico
"International Art Fair Art-West Germany" Blitz 3-Art, Wies, Germany
"Members Exhibition" San Jose Art Center, San Jose, CA
"International Art Exhibition" England, Touring: Whitelands College, Roehampton Institute in London, West London, Institute of Higher Education in Twickenham, Cockpit Theatre in Marlybone, London College of Art in Lincoln.
1982 "A Group Exhibit in 2-D" Works Art Gallery, San Jose, CA
"Green Mountain Art Show" Green Mountain College, Poultney, VT
1983 "Disguises and Adornments" San Jose Institute of Contemporary Art, San Jose, CA
"Thirty Statements" San Jose City Hall, San Jose, CA
1984 "San Jose/Santa Cruz Express" Mary Porter Sesnon Art Gallery, University of California at Santa Cruz, CA
"KQED Art Award Exhibition" San Francisco Museum of Modern Art Gallery, San Francisco, CA
1985 "Squid Art '85" Santa Cruz Art Resource Center, Santa Cruz, CA
"Expressions" San Jose Art League, San Jose, CA
"Valentine Show" San Jose Institute of Contemporary Art, San Jose, CA
"New Art in the West" Vorpal Gallery, San Francisco, CA
1986 "First San Jose Biennial" San Jose Museum of Art, San Jose, CA
"6 California Artists" Vorpal Gallery, San Francisco, CA
1987 "John DeVincenzi and Students" San Jose Art League, San Jose, CA
"The First New San Jose Renaissance Exhibition" Union Gallery, San Jose, CA
1988 "50th Anniversary Exhibition, San Jose Art League" San Jose Museum of Art, San Jose, CA
"Los Angeles Art" Bruce Velick Gallery, L.A. Convention Center, Los Angeles, CA
"New Year, New Work, New Space" Bruce Velick Gallery, San Francisco, CA
1989 "Two Dimensions" San Jose University Art Gallery, San Jose, CA
"Caribbean in the Bay" Alligator Gallery, San Francisco, CA
"Caribbean in the Bay" Western Addition Cultural Center, San Francisco, CA
"Intercessors" Allegra Gallery, San Jose, CA
"Abstract Art" Jennifer Pauls Gallery Sacramento, CA
1990 "Art Document '90 in Hokkaido" Hokkaido Museum of Modern Art, Sapporo, Japan
"Positive Actions/Visual Aid" Institute for Contemporary Art, Clocktower Gallery, New York
"Peter Lewis/Kelly Detweiler" American Center, Sapporo, Japan
"Two Part Harmony/Faculty Exhibition" Gallery One, San Jose State University, San Jose, CA
"Faculty Exhibition" Walter/McBean Gallery, San Francisco Art Institute, San Francisco, CA
"Charitable Inventions" San Jose State University Art Gallery, San Jose, CA
"Crossing Currents" d.p.Fong Galleries, San Jose, CA
"Twenty-two Years" Jennifer Pauls Gallery, Sacramento, CA
1991 "The Far Field Exhibition" Excellent Coast Company, Ltd., Yokohama, Japan
"Peter Lewis, Bert Yarborough and Far Field Artists" Toyota Corporation, Toyota City, Japan
"Pacific Rim Art Now, 1991" Otaru Municipal Art Museum, Sapporo, Japan
"Pacific Rim Art Now, 1991" JAL Corporation, Sapporo, Japan
"Drawings" 3 Com Corporation, Great America Site, Santa Clara, CA
"Faculty Exhibition" Walter/McBean Gallery, San Francisco Art Institute, San Francisco, CA
1992 "Faculty Exhibition" Walter/McBean Gallery, San Francisco Art Institute, San Francisco, CA
1993 "The Tenth Summer" Stephen Rosenberg Gallery, New York
"Bay Area Prints" Amerika Haus StuttgarStuttgart, Germany
1994 "Latin America & Caribbean Biennial" Museum of Modern Art Santo Domingo, Santo Domingo, Dominican Republic
"Faculty Exhibition" Joe & Emily Lowe Art Gallery, Syracuse University, Syracuse, N.Y.
"Exhibition to Honor Dr. Maya Angelou" National Arts Club Exhibition, New York
"Abstract Paintings: Frederick Spratt Gallery" Stanford University Faculty Club Palo Alto. CA
"The Figure" Dean Moniz Gallery, Sacramento, CA
1995 "Language of Art: Res IPSA Loquitor" Art Initiatives, New York Lawyer's Association, New York
"East Coast-West Coast: Peter Wayne Lewis, Milton Resnick, Ed Moses, Louise Fishman, Larry Poons" Frederick Spratt Gallery, San Jose, CA
1995-98 "Caribbean Visions: Contemporary Paintings & Sculpture" touring exhibition: Miami Art Museum, New Orleans Museum of Art, African American Museum (Dallas), Middlebury College Museum of Art, Wadsworth Atheneum (Hartford), Center for African American History and Culture, Smithsonian Institution (Washington), Center for Arts (Vero Beach, FL), Latin American Art Museum (Long Beach, CA)
1996 "Creative Concepts" Montclair State University, Montclair, NJ
1997 "One of a Kind" Rosenberg+Kaufman Fine Art, New York City
"Nation Wide Electric Eye" Frederick Spratt Gallery, San Jose, CA
1997-99 "Seeing Jazz" touring exhibition:
Smithsonian Museum, Washington; International Gallery, Smithsonian Institution, Washington; Jass Museum, NY; Western Gallery, Bellingham; Munson-Williams-Proctor Institution Museum of Art, Utica, NY; Hunter Museum of American Art, Chattanooga, TN; Tampa Museum of Art, Tampa; Joslyn Art Museum, Omaha, NE; Additional sites in US and Europe.
"Visual Spirits of Latin America" Promo-Arte Latin American Art Gallery, Tokyo, Japan
2000 "Latin American & Caribbean Contemporary Art Today" Miura Museum of Art, Matsuyama, Japan
2001

“Accumulations,” Kent State University Art Gallery, Kent, OH; Curated by Martin Ball, show included:
Peter Wayne Lewis, David Dupuis, Joanne Greenbaum, Will Mentor, Laura Owens, Paul Henry Ramirez,
James Sienna, Enid Williams.
“10th Anniversary Show” Parish Gallery, Washington DC
“Karuizawa Drawing Exhibition” Wakita Museum & Inokuma Genichiro Museum, Tokyo, Japan
“Shikiten 2001” Art Salon, Tokyo, Japan
“Latin American and Caribbean Art” Promo-Arte, Tokyo, Japan

2002 “20 Years – 60 Artists” Kunst Raum Gallery, Stuttgart, Germany
“Intrepid” Rosenberg + Kaufman Fine Art, New York City, NY
“Exposition Magnet” Yassine Art Center, Dakar, Senegal
“Latin American Art 2002” Promo-Arte, Tokyo, Japan
“Fifteen Jamaican Artists” Skoto Gallery, New York, NY
2003

“Biennial Exhibition” National Gallery of Jamaica, Kingston, Jamaica
“Rotation: A Repertory Group Exhibition” Frederick Spratt Gallery, San Jose, Ca
“The Diaspora in the 21st Äup0ÄnosupersubCentury” Fort Lauderdale African American Cultural Center, Fort Lauderdale, FL

2004

“Un-Convention" Rosenberg + Kaufman Fine Art, New York City, NY
“Selections 2004” Stephen D. Paine Gallery, Massachusetts College of Art, Boston, MA

2005 “paper | panel | canvas” Rosenberg + Kaufman Fine Art, New York City, NY
“30th Anniversary & Biennial Exhibition” National Gallery of Jamaica, Kingston, Jamaica
2006

“New Possessions, An Island’s Independence: Jamaican Art on the 44th Anniversary of Jamaican Independence” Art Museum of the Americas, Washington, DC
“American Painting” 3+3 Gallery, Beijing, China
“15th Äup0ÄnosupersubAnniversary Show” Parish Gallery, Washington DC
“Licht Und Schatten Group Exhibition” Golf Gallery, Furth Im Wald, Germany
“Paintings & Drawings” CIGE (China International Gallery Exposition), Beijing, China
“Internal Geometry” Rosenberg + Kaufman Fine Art, New York, NY

2007

“Journeys: 35th Anniversary of Jamaica and China Diplomatic Relations” Galleria on Third, Beijing, China
Songzhuang Village Art Festival, Songzhuang, China
“Dream Palace” A-Space Gallery, 1 Art Base, Beijing, China
“Biennial Exhibition” National Gallery of Jamaica, Kingston, Jamaica

2008

"Inaugural Exhibition: SUNSHINE INTERNATIONAL ART MUSEUM" Sunshine International Art Museum, Songzhuang/Beijing, China
"Olympic Fine Arts Beijing: 2008," Beijing, China, organized by the International Olympic Committee, the Organizing Committee of the 29th Olympiad & the Ministry of Culture of PRC
Additional Olympic Exhibition Site: Tai Miao Temple in the Forbidden City, China International Exhibition Center, and Olympic Village.
"Marathon," Two Lines Gallery, Beijing, China
“Black: A Celebration of African American Art in Sacramento-Area Collections” 40 Acres Art Gallery, Sacramento, CA
"Pickled Art Center: SUMMER GROUP EXHIBITION" Beijing, China

2009 "Caribbean Canvas: Identity in an era of Globalization" Multitudes Contemporary Art Center @TeleAmerica, Miami, Florida
"VIRUS: a group exhibition at OASIS GALLERY" Oasis Gallery, Beijing, China
2010 “TWO AMERICAN MASTERS + ONE," Oasis Gallery Beijing, China
2011 “SELECTIONS 11" Stephen D. Paine Gallery Boston, MA
"20th Anniversary Show" Norman Parish Gallery, Washington, DC"2011 INTERNATIONAL PAPER ART EXHIBITION," CHUNG SHAN NATIONAL GALLERY at NATIONAL DR.SUN YAT-SEN MEMORIAL HALL TAIPEI, TAIWAN
"Dialogus: Mixing Culture Thru Art," Museum of Contemporary Art of Cusco Palacio Municipal- Plaza Cusipata, Cusco, Peru
2016

Caribbean Contemporary Art Exhibition, in Latin-American Art Gallery Promo-Arte, Tokyo, Japan


Collections
A.D. Plant Co., Yokohama, Japan
National Galery of Art, Kingston, Jamaica
San Jose Museum of Art, San Jose, California
Cosima Hotel, Tokyo, Japan
Rhiga Royal Hotel, Narita, Japan
Hilton Hotel, San Jose, California
N.K. Create Corp. Tokyo, Japan
A&M Co., Chiba, Japan
Art Stacks Co., Marin, California
Language Pacifica Co., Palo Alto, California
Chenen, Cohen & Linden Corp. Marina del Rey, California
The Vivian and Gordon Gilky Center for Graphic Arts at the Portland Art Museum, Portland, Oregon.
Kunsthaus Ostbayern, Viechtach, Germany
Guenter Paal & Associates, Stuttgart, Germany
Salon de Arte Osaka, Japan


Artist’s Statement - Peter Wayne Lewis


"Strings"
I am from Jamaica, a Caribbean melting pot. I came to the United States when I was nine years old and, after forty-five years, I still do not have a sense of being at home even though I have become an American citizen. I'm still trying to find a balance. When I create, this becomes reflected in an uncomfortable formal balance. Being an immigrant is crucial because it determines how one thinks about stability. It's the imbalance that creates the tension in the work. I have an understanding of imbalance - this adds psychological charge to the work, which makes it human. Throughout my travels as an artist, I have visited many countries, including Senegal, Germany, France, Italy, Czech-Republic, Cuba, Panama, Japan and, over the last four years, China. My migration has led me to leasing a studio space in Beijing. The contemporary Chinese art scene has exploded on the world stage and I wanted to bear witness to it as an artist and educator.
Painting is a ritual act. I'm trying to discover a link to the spiritual. I aim to transcend the flesh. Ritual describes something greater than it is. It becomes a connection to intangible things, the realm of the spiritual. For me a ritual act is a bridge to different sorts of experiences. The shaman bridges the realms of flesh and spirit to bring back knowledge that can be shared. My religious beliefs are akin to those of the shaman. I am devoted to making these pictures. I don't want my paintings to be passive objects. I want them to generate excitement, questioning, even intrigue. Some perceived imbalance or discord allows movement and rhythm.? I'm very conscious of the formal attributes. I teach those compositional elements of formal balance, harmony, and unity. Personally, I'm trying to shake that up in my work. I'm trying to find other ways of creating harmony, ways that generate some uneasiness. We are formed in darkness and born into the light. There is a metaphorical structure in the work. I do not present a mimetic structure. The picture suggests images of the natural world: trees, sky, and earth. I can't deny that. But I'm not consciously painting things I see. I'm interested in the phenomenon of the horizon that separates the opaque earth from the transparent sky. I paint primarily at night. There is a different presence of light, the nocturnal energy - a different kind of stillness.
I'm interested in graceful Chinese calligraphy and Japanese sumi ink paintings. It was interesting to be introduced to the work of the master painter, Ba Da Shan Ren (1626-1705) of China, during my painting session in Beijing last year. I saw parallel pictorial relationships between his work and mine. This is the beauty and education of travel. There's an idea in string theory that we exist as strings. We're vibrating strings. This idea links physics to my great love, music. According to string theory, if we could magnify a point, we would actually see a vibrating string. Matter is a series of points, not unlike a strand of DNA. The vibration of the strings creates harmony. The laws of physics can be compared to the laws of harmony. The universe can be compared to countless vibrating strings. The universe is a symphony of color and light.? In 1982 I traveled with my wife, Catherine, to Europe. We went to see the pre-historic cave paintings at Lascaux. I think of these caves, demarcated by the stalagmites and stalactites, as earth's first Gothic cathedrals. I had a pretty profound experience.
I was overwhelmed. I started thinking about architecture, ritual space, the animals, and things that threaten us. I cried. Those paintings altered what I was doing. I've always been interested in building images that move people in similar ways. I have a great love for the materiality of paint ? the tactile sensation, scarification of the paint, that writhing, dancing movement of the pigmented mud. There's a comfortable melding between my sensibility and paint. My body feels it. It makes sense for me. My choice to paint the unknown hopefully leads to some sort of resonance, something of permanent value. I strive to present reflections of my collective inner-world. They are not meant to inform, but to transform. Ultimately, the paintings live and die in the eyes of the viewer.