One must first consider Peter’s work from a place of Form and Function, the basic definition of Industrial Design. The form or artistic purpose of the work is to be functional by its physical nature, as well as illuminating the memory or connection one has to a photograph. His work allows that combined experience to be something seamlessly incomprehensible but simplistic enough not to ask more of it, creating an unquestioned totem of spiritual and evocative presence that feels a part of its environment, narrating the space and the actions of anyone amongst it.
As functional art, the work uses a constructed and deconstructed photographic emulsion process that, over time, manufacturing techniques and application of industrial and painter’s mediums, transcends its original moment, memory—even an understanding of traditional photography. These works become physical objects, walls, or dividers of space and light that simply ask the viewer to act and assimilate its beauty in their actions, defining the intention of the space and what is expected of those within it.
They are created through a unique process, the result of experimentation and evolution of technique, an accumulation of a life’s work and education in the arts. Simply put, they are intended to be indefinable by medium or artistic category, seamlessly integrating multitudes of artistic crafts and industrial processes into a singular narrative experience that asks the viewer to participate in its light, love and inspiration.