Born 1972, Liverpool, UK.
Lives and works in London, UK.
Peter Michael’s paintings are primarily derived from his scientific background and day-to-day enclosure in the digital world. They are normally created in two parts: firstly they are sourced, organised, altered and finalised through digital means. After this controlled study stage is complete, he can then explore the more chaotic, yet similarly complex properties of wet paint on canvas. There is nearly always an acceptable variation from the original subject, to the painted result. This is because the painting process invariably needs to be kept open, in order to deconstruct the work and resolve any issues that inevitably occur during this phase. He generally does not approach a piece of work with a cognitive narrative in mind. This enables people to view his work in the same way as they may listen to a piece of instrumental music; using the right hand side of the brain, rather than the left. For this reason, his paintings are kept free from complicated visual stimuli; normally fairly large in size, with single, solitary figures, that are hue and tone mediated. This also enables the work to be viewed as an immediate whole, rather than as a collection of interlinked parts. This creates an initial period where the viewer converges; even if momentarily. Painting the human figure allows Michael to fulfil most of the criteria that he is striving for in his work. The portrait for Michael is merely a still life of a person. In most cases he is not trying to portray the subject in relation to the world, but as a solitary form in space. Using a blank, vacuum-like background emphasises our distance from the subject and their distance from us. Additionally, using a machine as a digital buffer between the subject and the finished painting, adds a further impersonal influence to the work.