THERE ARE NO WORDS
THERE ARE NO WORDS
The coldness of Peter Malone's art is largely a matter of a photographic technique combined with occasional Surrealist juxtapositions and elisions, like the fence that fades halfway across a gleaming stretch of grass. Nevertheless, these diptychs and triptychs pack quite a punch, especially the one featuring a flower like a camellia flanked by squares of green landscape under cloudy blue skies.
Vivian Raynor, The New York Times
Peter Malone paints both words and image on canvas. The odd juxtaposition of his words and image causes one’s brain to use different parts not normally engaged at the same time while viewing contemporary painting. It’s a pleasurable sensation, and the way Peter plays with these elements leaves the viewer feeling relaxed, in the moment, and in touch with the mystery of perception.
- Julian Hatton
Choosing as his subject matter such images as a lone flower in a simple vase on a tabletop, delicately caressed by shaded sunlight, Peter Malone’s still life paintings are stark, subtle and dramatic.
Christopher Faris, Manchester Journal, Manchester VT. September 2005
Peter’s evolution as an artist always struck me as unusual with its reverse trajectory. Starting with conceptual art, he passed through an abstract painting period and settled for decades as a representational painter. A few years back I included a very early piece of his in an exhibition in Ukraine that consisted of paint cans on a shelf—at a time when he was in New York painting portraits. Before this current series appeared in 2018, there were two extreme poles marking the long path he had taken. Now the conceptual returns, closing the circle while maintaining the unique visual sensitivity that distinguishes all his work.
- Irina Danilova (Executive director, Project 59)