Peter Buchman "Truth be Told”, Voice-Over Paintings Series, 2024

Contemporary New York artist Peter Buchman's 'Now Showing' is created using laser-cut plexiglass, acrylic medium, and enamel on wood. It's part of his Voice-Over series, in which the artist gathers linguistic phrases to immortalize the valuable contributions of other cultures to the American Diaspora. To describe Buchman's word paintings as 'A Figure of Speech' is an understatement of the profound soulfulness they embody. They bear the marks of the artist's hand but also carry the collective spirit of those who came before him. These words derive from familiar phrases, music albums, his unique brand of irony, and the very essence of the human form. 'Now Showing' draws inspiration from Film Noir, a genre that held a profound influence on Peter's film and cinematic journey. The strident and punctual dialogue always fascinated him, along with the black and white director's perspectives. As an artist who spent hours drawing and sketching in pencil, the dramatic black and white hardened scenes just gripped him. He wanted smoke and spit and to rough something up. He wanted to emulate those textures, those scenes, that gut reaction with danger but in a poetic sense. The work reflects someone who is under interrogation, spilling their guts out, or just spilling the beans. It's a collection of phrases Peter unearthed or scratched out from movies or vintage pulp...

Contemporary New York artist Peter Buchman's "Once Upon a Time" is made of laser cut plexiglass, acrylic medium and enamel on wood. It's a part of his Voice-Over series. To explain that Buchman’s word paintings are ‘A Figure Of Speech’ is underestimating the level of soulfulness at which these works reside. They are markings directly from the artist’s hand yet are indications of many people before him. These are words from familiar phrases, music albums, his funny brand of irony and the human form itself. For this piece, in a manner of speaking, we are all running out of time, however Buchman’s soliloquy and ironic eye has fun with the notion that with humor and self effacement in a street-run-on sentence kind of rap he can get away with making fun and pointing out the obvious. Which isn’t always so obvious. Signed and dated en verso. This is a commissioned piece and will ship directly from the artist's studio. American artist Peter Buchman has BFA in Illustration from The Rhode Island School of Design and did a Sculpture Residency at The School of Visual Arts in New York. Peter's artwork has been exhibited throughout the US since 1981 including the Parrish Art Museum (Southampton, NY), Cooperstown Museum (NY), Delaware Museum of Art, Kidder Smith Gallery (MA) and Vered Gallery (East Hampton, NY). His work is included in the portfolios of collectors including Beth Rudin DeWoody, Nicole Miller, David Yurman and Howard Schultz...

Contemporary New York artist Peter Buchman's 'Note to Self' is created using laser-cut plexiglass, acrylic medium, and enamel on wood. It's part of his Voice-Over series, in which the artist gathers linguistic phrases to immortalize the valuable contributions of other cultures to the American Diaspora. To describe Buchman's word paintings as 'A Figure of Speech' is an understatement of the profound soulfulness they embody. They bear the marks of the artist's hand but also carry the collective spirit of many who came before him. These words derive from familiar phrases, music albums, his unique brand of irony, and the very essence of the human form. For this specific piece, 'Note to Self,' Peter is fascinated by what he said - she said and all of that back-and-forth cross-communication. Phrases like 'word on the street' and 'news at eleven'—we are all familiar with this kind of language, but how does it make us feel to see it stacked on top of each other? Writing lists, scribbling notes, verbatim, talking to ourselves or our partners... where does it all get us? Everywhere? Nowhere? This communication and street slang intrigues him. Whether he hears it or actually sees the words, the language grabs his attention, and he wants to discuss it again... with you, the viewer. Will you engage? Signed and dated en verso. This is a commissioned piece and will ship directly from the artist's studio. American artist Peter Buchman has BFA in Illustration from The Rhode Island School of Design and did a Sculpture Residency at The School of Visual Arts in New York. Peter's artwork has been exhibited throughout the US since 1981 including the Parrish Art Museum (Southampton, NY), Cooperstown Museum (NY), Delaware Museum of Art, Kidder Smith Gallery (MA) and Vered Gallery (East Hampton, NY). His work is included in the portfolios of collectors including Beth Rudin DeWoody, Nicole Miller, David Yurman and Howard Schultz...

Contemporary New York artist Peter Buchman's "Goodnight Moon” is made of laser cut plexiglass, acrylic medium and enamel on wood. It's a part of his Voice-Over series. To explain tha...

Man Shall Not Live by Bread Alone (2021) Acrylic and gesso on jute coffee sacks on wood panel 110 x 110cm Education MA Fine Art, Chelsea College of Art, London (2015/16) Solo Exhibitions Scratchcard Paintings, Oliver Spencer - London, July 2019 No Blank Space, Silverthorne Lofts - London, December 2016 Collections to Inform Artwork, Chelsea College of Art Library - London, July 2016 Be The first of Your Friends To Like This, Punctum Gallery, Chelsea College of Art - London, April 2016 Group Exhibitions (Selected) Transatlantico, Mana Contemporary - New York, October 2020 Pazzo Palazzo, Palazzo Monto - Brescia, Italy, May 2019 Recreational Grounds - London, May 2019 Delphian Gallery Print...

John Lehr original work titled Cooler, 2015. Pigmented inkjet print. Edition of 5. Provenance: Kate Werble Gallery, New York. Signed with gallery sticker...

Oil on Canvas Since 2011 Lecturer at the Academy of Art in Bad Reichenhall and Kolbermoor, Founder of the color painting course, with Prof. Jerry Zeniuk and Prof. Raimer Jochims Awar...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...