Page 19 - WOWwART

Gary Petersen’s mastery of color and form infuses geometric abstraction with emotional depth, inviting viewers to experience art as connection. Catholic schools without any art classes. While I always had an interest in art and biology, as a first-genera- tion college student, I felt pressure to become somet- hing rather than simply study something. When I was accepted to Pennsylvania State University, I chose to major in Animal Science, thinking I wanted to become a veterinarian. At that time, it What was it like being awarded The Barnett and Annalee Newman Foundation Grant in 2020, and how has this recognition impacted your career? It was a complete surprise. After decades of work, it’s wonderful to be recognized and validated for all the effort you put in. The award gave me the freedom to focus on my studio practice without financial worries, and, additionally, the Foundation purchased one of my paintings and donated it to the Jewish Museum in New York as part of the Newman Foundati- on collection. This prestigious collection includes many well- known artists, and it’s such an honour to be a part of it. You’ve exhibited your work interna- tionally, from New York to Munich. How does your approach differ when preparing for solo exhibitions versus group exhibitions? In group shows, you have limited control; the curator or art dealer installs the pieces and decides which works to include. With solo shows, however, I think more intentionally about how my work will interact with the space where it will be displa- yed. Since I’m always working in my studio, the gallerist often visits, and together we select the paintings for the show. We discuss which pieces work well in conversation with each other. How did growing up in Staten Island and studying at Pennsylva- nia State University influence your artistic development and approach to painting? day-to-day distractions. At Bog- liasco in particular, the Ligurian light and vibrant colors of the Italian cityscape inspired me When I know about a solo show well in advance, I also consider the sizes I want to paint and how they’ll function within that specific space. Many prominent publications have reviewed your work over the years. How do you feel about the role of art criticism in your career and the reception of your paintings? I generally enjoy reading reviews of my work, as they often offer insights that give me new perspectives to consider. It’s especially gratifying to read thoughtful criticism, such as John Yau’s reviews of my work. He is both articulate and insigh- tful about painting, and he can explain my work far better than I ever could. Your work is featured in both private and public collections, including the Dallas Museum of Art and The Jewish Museum. What do you hope viewers take away from your pain- tings when they see them in these different contexts? First, it’s an honour to be included in these permanent collections. I hope my work cap- tures the viewer’s eye, drawing them in to look, connect, reflect, and perhaps experience a bit of joy. The Dallas Museum holds an earlier work compared to the piece at The Jewish Museum, but both are part of their con- temporary collections, so the contexts are similar. My hope is that these works resonate with viewers about our present world and remain relevant for generati- ons to come. Staten Island is one of the five boroughs that make up New York City, and I grew up there in a lower-middle-class household. My parents did not have a col- lege education, and I attended to push my color palette even further. never even crossed my mind to study art. But in my junior year, I took an art class as an elective and fell in love with it. I also began to socialize with some of the graduate art students and realized that this was what I truly wanted to pursue. I wanted to become an artist. You have received several prestigious residencies, including at MacDowell and the Bogliasco Foundation in Italy. How have these experiences shaped your creative process? The wonderful thing about artist residencies is twofold: you meet creatives outside your own field, and you’re given the gift of time and space. The luxury of time at both residencies allowed me to explore new avenues in my work, free from the usual Gary Petersen’s vibrant abstractions balance precision with spontaneity, inviting viewers into a dynamic world of color, movement, and form. WOWWART II 19 P