Catchlight

- Orexart (Auckland 2017)

Light Falling Through A Dark Lands
Light Falling Through A Dark Lands

2017 Oil on Linen Exhibition: Catchlight Orexart, Auckland

The Curvature of Light
The Curvature of Light

2017 Oil on Linen Exhibition: Catchlight Orexart, Auckland

Lux Aeterna
Lux Aeterna

2017 Oil on Linen Exhibition: Catchlight Orexart, Auckland

The Ships's Wake at Astronomer Point
The Ships's Wake at Astronomer Point

2017 Oil and collage on linen 76 x 67 cms Exhibition: Catchlight Orexart, Auckland

Longitute at Astronomers Point
Longitute at Astronomers Point

2017 Oil on Linen Exhibition: Catchlight Orexart, Auckland

A History of Letters
A History of Letters

2017 Oil on Linen and envelopes Exhibition: Catchlight Orexart, Auckland

Rain
Rain

2017 Oil on Linen Exhibition: Catchlight Orexart, Auckland

Into the Flicker of Geological Time
Into the Flicker of Geological Time

2017 Oil and collage on linen 31 x 121 cm Exhibition: Catchlight Orexart, Auckland

The Velocity of Light
The Velocity of Light

2017 Oil and collage on 2 linen panels 92 x 244 cm Exhibition: Catchlight Orexart, Auckland

Huka Falls and The Legend of..
Huka Falls and The Legend of..

..The Takitimu Canoe 2017 Oil on Linen Exhibition: Catchlight Orexart, Auckland

Cloud Levels at Manapouri
Cloud Levels at Manapouri

2017 Oil on Linen Exhibition: Catchlight Orexart, Auckland

The Vanishing Echo
The Vanishing Echo

2017 Oil on Linen Exhibition: Catchlight Orexart, Auckland

Exhibition View 

Catchlight is defined as the highlight that can appear in a portrait subject’s eye. It is generally a desirable thing because it enlivens a subject; it is a kernel, a glint at the heart of human-to-human communication. Light is that elusive state of particles and waves that evade art history’s capture.

TJ McNamara has described Peter James Smith as having a "...remarkably active mind”. Smith paints eloquently in two abstract languages that are usually poles apart, mathematics and art. The arresting thing about his landscapes is his ability to elegantly combine his Romantic style of painting with scientific dialect. Realistic scenes sit with strong mark making and text as the imagery is juxtaposed with scientific observations, poetic and historical references as handwriting.

My current practice embraces the traditional painting approaches of oil on linen in a realist style that is at once traditional and contemporary: traditional, in the sense of my fertile interest in the 19th Century High German Romantic paintings of Caspar David Friedrich (1774-1840) or the American Luminists such as Frederic Edwin Church (1826-1900); contemporary, in my embrace of contemporaneity - the linking of images and texts from different times, cultures, knowledge systems, histories and geographic locations - to a painted constellation in the present. (Peter James Smith, 2016)

Smith’s paintings discuss the part imagery and objects play in the development of memory and the recall of history. His works acknowledge the aspiration for progress brought forth by scientific invention and investigation - while allowing room for the imagination, reminiscence and admiration.