Promo-arte Latin American Art gallery
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Peter Wayne Lewis
"Paintings from Middle Earth 3"


From: July. 20th(Fri.), to 31st(Tue.), 2012 11:00-19:00
Place:PROMO-ARTE All 2nd Floor
Organized by: PROMO-ARTE Latin American Art Gallery
Supported by: Instituto Cervantes Tokio
 

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Exhibition Hall


Exhibition Hall

Exhibition Hall


Exhibition Hall

Exhibition Hall


Exhibition Hall


Exhibition Hall


"Booster #300", "SUITE IN GRAY #26"
Aclyilic on canvas, 100x70cm



"SUITE IN GRAY #13"
Aclyilic on canvas, 100x70cm


"SUITE IN GRAY #35"
Aclyilic on canvas, 100x70cm


Reception view

Reception view


Reception view


Reception view

Reception view

Reception view


Reception view

Reception view


Reception view

Reception view

About the artist
Peter Wayne Lewis

Chairman of Fine Arts 2d-Painting and Printmaking and Professor of Painting at Massachusetts College of Art and Design in Boston, Ma. Was born in Kingston, Jamaica West Indies and immigrated to the USA in 1962 and made his home in Sacramento, California. He became a US Naturalized Citizen in 1983 and received his Masters of Arts Degree in painting in 1979 from San Jose State University California. He currently resides in South Orange, New Jersey, Boston, Massachusetts, and Beijing, China.

SELECTED SOLO EXHIBITIONS:

2012 Matthias Kuper Galleries, Stuttgart|Beijing, Beijing, China; PAINTINGS FROM MIDDLE EARTH PART 2
PROMO-ARTE, Tokyo, Japan; PAINTINGS FROM MIDDLE EARTH PART 3
2011 JayJay, Sacramento, California; PAINTINGS FROM MIDDLE EARTH PART 1
2010

Green T- House Galleries, Beijing, China; Peter Wayne Lewis: Beijing Homage Booster Scrolls

2009

Pickled Art, Unit # 1, Beijing, China; GREETINGS FROM KINGSTON/NEW YORK-Paintings
PROMO-ARTE, Tokyo, Japan; Peter Wayne Lewis Paintings

2008

STADTIDCHE GALERIE IM CORDONHAUS, Cham, Germany; Peter Wayne Lewis | Booster Paintings
40 Acres Gallery, Sacramento, California; Strings Genesis
JayJay , Sacramento, California; Grand: The Booster Paintings

2006 N.Y. Arts Gallery-Beijing, Beijing, China; Strings Paintings
2003 Rosenberg + Kaufman Fine Art, New York City, New York; Strings
Stella Jones Gallery; New Orleans, Louisiana; Paintings
2002 Parish Gallery, Washington, DC; Dream Paintings
2000

Rosenberg + Kaufman Fine Art, New York City, NY; Fields (Catalogue - Essay by David Carrier)

1999 Montclair University Art Gallery, Montclair, NJ; Caribbean In My Sol. Curator Dr. Lorenzo Pace.
1998 Galarie Weber, Viechtach, Germany; Viechtach/New York
1997 Rosenberg + Kaufman Fine Art, New York City, New York; Replicant
1995 Frederick Spratt Gallery, San Jose, California; Black Swan Suite Paintings
Parish Gallery, Washington, DC; Blue and Black Swan Suite Selections
Rosenberg + Kaufman Fine Art, New York City, New York; Blue Swan Suite Paintings
1994 Frederick Spratt Gallery, San Jose, California; Sumerian Farewell Paintings
1993 Kunst/Raum, Stuttgart, Germany; Stammtisch Paintings. Curator Christian Gunther.
Werndl Corporation, Rosenheim, Germany. Paintings & Small Works. Curator, Ludwig Weber.
A & M Art Gallery, Chiba, Japan; Koto Cycle Works. Curator, Yukiko Lunday.
1992 Kunsthaus Ostbayern, Viechtach, Germany; Paintings (Catalogue)
Fong & Spratt Galleries, San Jose, California; The Substance of Painting. Curator, Frederick Spratt.
1990

Kunsthaus Ostbayern, Viechtach, Germany; Works on Paper. Curator, Anton Zollner.
d. p. Fong Gallery, San Jose, California; Works on Paper

1989 d. p. Fong Gallery, San Jose, California; Paintings
Jennifer Pauls Gallery, Sacramento, California; New Paintings
1988 Bruce Velick Gallery, San Francisco, California; Paintings (Catalogue)
1987 Monterey Peninsula Museum of Art, Monterey, California; Recent Abstract Images
1986 San Jose Museum of Art, San Jose, California; Paintings
Freeman Gallery, Palo Alto, California; Paintings
1984 Factory Place Gallery, Los Angeles, California; Paintings
Triton Museum of Art, Santa Clara, California; Paintings
  Thoughts about my paintings

We are formed in darkness and born into the light. This is the reality for all human beings in the dance of life on our planet. With globalization being an essential ingredient of the 21st Century and our greater connectedness, I am hopefully optimistic that differing cultural paradigms around the world will move toward a greater quality of humanness rooted in complete respect for differing opinions. With the human Genome project in full play, and other modern technologies advancing; if we maintain a shared knowledge base that is transparent and transcendent, everyone wins and there are no losers.

It is quite fascinating to me to make an exhibition in Japan, due to the fact that as a young man of 9 years old I was introduced to fine art and painting with the work of Master Hokusai and Utamaro. Ukioe prints have always inspired me from this early age until now. Over the past 7 years, I have been visiting China, painting and curating but always absorbing the various experiences that have presented itself to me. All the paintings in this exhibition was made in Beijing, China at my studio; OASIS over the past couple of years.

These paintings refer to the building blocks of nature at its fundamental level; from a micro as well as macro point of view. They involve ideas such as order, chaos, gravity, speed, time and light. Once we understand the lyrical play of the world and its beauty, we collectively as human beings, will want to protect while preserve it. Painting as an art form always addresses ones place in the world and does make us more human. There is an idea in string theory that all matter exist as vibrating string moving in multiple dimensions. This idea links physics to my great love, music. The vibration of the strings creates harmony. Matter is a series of points, not unlike a strand of DNA that links all human beings together in a timeless dance of life. 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 and different time signatures.

Peter Wayne Lewis (C) May 6th,2012



Blue and Green: some notes on the work of Peter Wayne Lewis
Stacey Duff


Peter Wayne Lewisfs paintings are perpetually born | born vibrating | out of the energy of the moment. Brimming with vibratory gestures of color, his work is a physical, present-tense activity. He doesnft capture objects. He doesnft structure conventional narratives. His paintings, rather, enact a visual language of the spontaneous self as it explores the harmonious grace of the universe. Viewers of his work become willing cohorts in that pursuit.

His work expands the tradition of American abstract art. His concerns with color field theory | his conviction in the spiritual energy of color | align him with precursors like Mark Rothko and Barnett Newman. Meanwhile, the artistfs experience as a Jamaican-born American, his sensitivity to the African diaspora along with his voracious appetite for jazz and his intellectual interests in theoretical physics, have vigorously pushed his work into new territory. Born in Kingston, Peter Wayne Lewis teaches art in Boston and maintains an ambitious studio practice in both New York and Beijing. He is a citizen of the world and a visual expeditionary. But rather than dig for ideas in art history books, he digs for materials inside himself: an adventurous self born of his eclectic travels. His current show at Matthias Kuper in Beijing provides viewers the opportunity to see nine paintings from an ongoing series predominating in the green and black of his native Jamaica | as well as new site-specific installation.

The installation consists of a painting group, religious statuary and sound element. The paintings are executed in light blue acrylics on canvas that simultaneously evoke porcelain, the Bavarian flag and the blue note from jazz. Peter Wayne Lewis is exploring a kind of blue specific to the context of his experience here in Beijing. The paintings invoke the human body, especially abdominal organs. You also feel it in your gut. The shapes seem to vibrate, a characteristic that rings true to his connection to jazz and his interest in string theory. Blinking lights, common in Beijing, pay homage to local architectural motifs but also add a warm and personal touch to a profound and epic theme: penetrating the living moment of the universe in all its myriad possibilities. The spirituality of this experience | of acting in the now | is echoed by the Buddhist statuary whose meditations here sound out in the form of music closest to the artistfs own heart, jazz.

The final and indispensable element of this exhibition is the viewer. The artist cannot commune with the Greater Self | the Over-Soul that he knows his personal self is a part of | unless he harmonizes with the viewer. This is ultimately a call and response form of art. The artist calls. The viewer responds. The universal symphony arises out of the tacit understanding and the perceptive listening between artist and viewer. These visual harmonics are ultimately as unpredictable as they are universal, as universal as they are intimate, and proof positive that even on a planet where change sometimes approaches chaos, we still live during a dispensation of grace. Art reconciles us to the universal body we didnft know we were seeing.

Beijing
March 31, 2012



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