Peter G. Ray
 

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Peter G. Ray | Testmonials
Peter G. Ray, artist from Bulgaria, now working out of Montreal, Quebec, Canada, with an international presence in many global metropolises.
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Testmonials

DeLuca Gallery – Peter G. Ray

June 2015

Toronto, Ontario

 

Peter G. Ray is both a painter and a sculptor. Favouring a pallet of black, white and the visual properties of aluminum, Ray’s signature style of painting is one of hyper-illusion. His large canvasses can barely contain the movement of the the spheres and ambiguous shapes which occupy it’s surface.

In his sculpture Ray playfully re-imagines icons of consumerism: the shopping bag, the pop can and the candy wrapper. Made from aluminum which he crumples, tears and paints these pieces are an ironic celebration of consumer society.

Peter G. Ray is a Bulgarian born painter. He graduated from the Institute for Visual Arts in Sofia. Ray currently devides his time between Montreal and New York.

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ArToronto – Peter G. Ray

July 2014

Toronto, Ontario

 

Peter G. first solo show in Toronto in De Luca Gallery, titled Confidential, is exploring the unlimited potential of the universe and the place of human beings in the cosmological order. He presents intricate paintings that capture the attention through hyper-detailed and carefully orchestrated abstractions, but yet leave the visitor with a sense of uncertainty.

Working exclusively with paint on canvas, Ray aims at carrying on the tradition of the medium and at creating hyper-illusionistic images without the assistance of electronic and digital tools. “I want to continue the tradition of painting, real painting, with paint, brush and other tools… but at the same time, I want to achieve this kind of images which are like photography or computer work.” His works present sceneries that explore traditional and classical subject matters but that are carefully constructed in the language of modern and contemporary art.

Some of his canvases are inhabited by the same dynamism and energy present in the work of artists such as Jackson Pollock and Max Ernst (although Ray denies any other artistic influence than that of the Old Masters). His images, abstract yet highly detailed and described by himself as “hyper-illusionistic” invite for contemplation and thorough observation, and unfold themselves on new levels at each inspection.

From left to right: Peter G. Ray, The Tropic of a New Born Hope, 2014, Acrylic on canvas, 60 x 48 inches, Swan Lake, 2014, Acrylic on canvas, 60 x 48 inches.  Photo: Summer Sun

Finding his inspiration in everyday life as well as in images of the cosmos, Ray is interested in the likeness between microscopic representations of living beings and macroscopic images of the universe: “It’s just so similar when you see a picture from a microscope and next to it a picture from the cosmos. It’s the same thing. It means we are part of the universe.” Pushing this idea further, he sees every human being as a universe itself with its own mode of representation and visual language, and thus develops his own artistic techniques to create images that reflect his personal vision of specific themes.

Peter G. Ray, In the Eye of a Category Five Hallucination, 2014, acrylic on canvas, 60 x 80 inches.  Courtesy of De Luca Fine Art / Gallery

Leaving the visitors with the task to elaborate their own interpretation of his works, Ray presents a set of appealing and fascinating canvases that show his technical prowess, but that yet asks for a more systematic conceptualization of his work. As interesting as the theme of cosmic-human interconnectedness may be, it is nonetheless a much explored question that would here necessitate a more in-depth account of the artist’s personal approach to the subject. A more comprehensive rationalization would only give more authority to these already visually powerful works.

Artist Peter G. Ray in front of De Luca Gallery. Photo: Summer Sun

*Exhibition information: June 14 – July 5, 2014, De Luca Fine Art / Gallery, 217 Avenue Road, Toronto. Gallery hours: Wed – Sat: 11 – 6 p.m.

Finding his inspiration in everyday life as well as in images of the cosmos, Ray is interested in the likeness between microscopic representations of living beings and macroscopic images of the universe.

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Zino Pece’s Review

June 2013

New York, New York

As an artist, one has many influences and at certain times some have a special significance. At this stage in my career, Peter G. Ray is a painter who I consider both a catalyst and a major figure in painting today. I first became aware of these extraordinary works about six years ago on Kenworth’s Moffett’s Art Letter website and shortly after this I saw three of Ray’s works in the flesh, when visiting Moffett. On this occasion one painting stood out for me; a small black and white one. The two other larger and colourful ones did not grab my eye other than just liking certain parts of the pictures. I also saw some in print reproductions, which again, did not spark much interest.

On seeing these paintings a year or so later and the prints also, the difference in my perception was remarkable. Now seeing and liking the coloured paintings and the prints, a time of influence had begun. During the intervening period, some experimentation in using fluid paint had been going on in my own painting along also with a particular interest in the paint work of Bruce Piermarini and Irene Neal. But for now focusing on Ray, who I also met during this visit to America and he showed me photographs of some of his black and white paintings which were quite something.

I consider Peter G.Ray’s work to be a of great importance. As a painter myself, I recognise him as one of those leading figures that aspiring artists have to acknowledge in order to progress. Not to paint like him, but to understand that he is where painting is at.

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Kenworth Moffett – Peter G. Ray

January 2014

Boston, Massachusetts, USA

 

According to the critic Michael Fried, painting’s “primordial convention” is “first to attract the beholder, then arrest and finally to enthrall the beholder, that is, a painting has to call to someone, bring him to a halt in front of itself, and hold him there as if spellbound and unable to move”.  This certainly describes my experience of Peter Ray’s paintings.  In my view, he is the most exciting painter to come along in many years.  He has a preternatural ability to think and feel in pictorial terms.  His vision is fresh, and his instincts are modernist.  He has said “when I become too concrete or figurative, the painting stops for me.”  But he has also said that he wants his paintings “to tell a story”.  Taken together, these two quotes give us Ray’s aesthetic in a nutshell.

Ray’s signature is improvisational paint pouring, taking the approach of Jackson Pollock and Morris Louis to a whole new level.  Amazingly, the result is hyper illusionistic and surrealistic, often invoking Salvatore Dali.  He gives to modernist painting a new emphasis on drawing, and intense complexity of detail, as well as enormous fluidity.  But Ray can paint any which way, from broad arm’s length brush strokes à la deKooning, to the use of a fine brush to achieve old fashioned modeling.  He is a true virtuoso.  But it is his many ways of pouring that makes his work so distinctive.

“To Be Or Not To Be”, 2004, 18″ x 18″

In his 2009 New York exhibition held at the Bridge Gallery last December, Ray utterly surprised me.  He had incorporated Pop Art, specifically Jeff Koons, and, more generally, the “combines” of Robert Raushenberg.  Peter easily consumed them both.

Starting out in his native Bulgaria, Ray was first a boxer, then an actor and then a film maker.  Because of his country’s economic and political instability, he immigrated in 1991 to Montreal, Canada.  There he wrote a volume of poetry in Bulgarian called “Nails of the Cross” and a novel, “The Thinker”, also in Bulgarian, which appeared in 1997.  The latter gained him national recognition and was translated into French.  Another Bulgarian novel, “The Conqueror”, appeared in 2000.  In the same year, inspired by an epiphany he had after an ice storm in a park in Montreal, Ray turned to painting.

Ray’s art is rooted in European surrealist painting especially biomorphism and automatism.  But he has also embraced Post World War II, North American abstraction, above all the work of Jackson Pollock.  Like Pollock, Ray creates a dynamic field of forms arrived at by ideation and improvisation.  Like Pollock, Ray loves black and white and the visual properties of aluminum.  But the handling of paint in Ray’s pictures differ radically from Pollock and Pollock-like painting.  Next to Pollock, Ray is far more illusionistic and vivid.  Pollock and his followers opened the picture out, spreading it across the wall.  The result is simpler, more decorative unities than Ray’s, which are more easel scale, and address us more personally; rather than back us up, they draw us in.  There is modeling, dramatic foreshortening, sometimes deep space and theatrical lighting, but no consistent perspective or light source.  It’s all free form.

“He”, 2006, 48″ x 72″

Ray usually gives us a dramatic, and fantastic, biological event.  There are forms that suggest jellyfish, tendrils, bubbles, cords, buds and much else.  The visceral and the sexual is everywhere evoked as is the subatomic, aquatic and cosmic.  In the end though, it is Ray’s uniquely visionary vision which grips us.

Ray’s content can have a disturbing even menacing quality.  He sometimes includes collaged images of intense suffering and martyrdom.  His work is far less sublimated than is Abstract Expressionism, or Color Field painting, or the “New New” painting.  But, in the end, Ray’s art, like theirs, is a celebration of human creativity and genius.

“Evolutionary Processing”, 2006, 48″ x 48″

He had done wonderful paintings before, but, in my mind, Ray first stepped forward as a major figure at his 2006 exhibition staged at the Nordelec Building in Montreal.  Here he limited himself to black and white, which enabled him to feature his absolute mastery of dramatic chiaroscuro.  Many of these grisaille pictures have a beautiful silvery tone.  They are at once intensely graphic and brilliantly painted, exquisitely refined and expressively forceful.  Ray is a “sculpture-draughtsman” type master (like Ingres, Degas, Picasso and Pollock) rather than a “pure colorist” (like Delacroix Monet, Matisse and Morris Louis).  But he can be daring with color, and he knows very well how to make it count.

11-Embryo of life #3“Embreyo Of Life #3″, 2006, 72″ x 48″

In 2007, Ray produced a startling new series.  In these he wrapped a finished, fully dry painting on canvas, with aluminum paper, with the aluminum side facing the painting, and the brown, blank paper side facing outward.  Then he painted on the paper.  Finally he tore away some of the paper revealing the canvas behind and leaving rolls of aluminum as a kind of inner frame.  It is a picture within a picture, a kind of multi dimensional, trompe l’oeille.  These he showed the same year at the A & D Gallery in Philadelphia.  With a former actor’s flare for the dramatic, Ray tore away the aluminum paper on each picture at different times during the opening.

In his first show at the Bridge Gallery in New York, in 2008, Ray put on display his ever expanding range.  I remember particularly the masterpiece, “Nothing to Fear” (50″x100″) in which he added earth colors and warmth to the inherent coolness of grisaille.  He framed it like an easel painting with a carved wooden frame.  Altogether, the show had less focus than the Nordelec show but was more expansive and varied.

“Milena”, 2009, 94″ x 83″ x 59″

The two largest pieces in Ray’s 2009 show at the Bridge Gallery were “Milena” and “Doors”.  “Milena” is a 95” tall aluminum shopping bag sitting on a 1′ base.  Its four sides are 83″ wide on the long sides and 59″ on the short sides.  At the top are eyelet holes with a draw string identifying it as a shopping bag, an icon of consumerism.  Meanwhile, running around the “bag” at eye level is a band of beautiful, free form painting in black and white with a few areas of red.  Each of the four sides of “Milena” is a picture in itself but also part of a continuity; one is impelled to walk around it to see it all.  It reminds me of Pollock’s frieze-like paintings but without beginning or end.  The aluminum mirrors more but is also blunter that the shinier aluminum paper he had been using.  And the epoxy varnish, which he has using so effectively since 2007, is especially striking next to the aluminum.  As always, Ray here works his magic, alchemist-like, from the incompatibility of oil and acrylic paint.  “Milena” can be seen as a parody of Koons, showing how it’s really done.  How to make a passionate, personal statement out of the cute idea of a glitzy, high end, shopping bag.  The celebration of consumer society is here marginalized by the celebration of the artist’s self.  He playfully and lovingly named the piece “Milena”, after his wife.

“Door” 2009, 90″ x 100″

“Door” is a more complex work.  It is made up of two, closed, naked wooden doors each with metal hinges and a hole for the knobs.  Snaking out of these holes is a real, shiny, heavy, metal chain with a heavy duty lock.  It is lit from behind so that real light shines through the crack between the doors and from the holes.  Ray’s cool, grisaille painting is here set against the warmth of the raw wood grain.  There is a pulsating central matrix just above the chain and lock.  Throughout there is an accenting with bits of collage.  The theme of unveiling, of something behind being revealed, was already there in Ray’s torn aluminum paper paintings.  And again, the stupefying level of the paint handing redeems everything, however potentially over literal or stagy.

If “Milena” gives us modernism and post modernism side by side, in “Door”, they are woven together into a seamless whole.  Each in their own way, both works are aggressively physical.  But the wood grain and the aluminum also count pictorially as warm and cool respectively.  So too, their unique visual properties are perfect, yet unexpected, foils for two of Ray’s most spontaneous displays of free form, abstract painting.  And two such different conceptions!

One might well ask why such a brilliant modernist painter would bother with the banalities of Pop?  Ray sees it differently.  He suffers no constraints and has always wanted his painting to go back to where it began.  In 1999, when he saw the devastation caused by the ice storm, his impulse was to give the shattered roots and branches a “second life” through paint.  But they proved difficult to paint, so he began seeking out old, discarded, wooden furniture.  A few months later, in 2000, he started working on canvas.  His recent return to the world of objects is a return to his beginnings, but with a twist.  By embracing conceptualism and objecthood, he prompts himself to make each work more unique, more newly conceived.

“Door” (detail), 2009, 90″ x 100″

Most recently Peter has worked with a manufacturer in Montreal to make three foot high, aluminum, soda cans and candy wrappers, which he then crumples, tears and paints on in his inimitable way.  In the case of the can, this idea has prompted his boldest use of color yet.

IMG_0070“A Universe In A Used Soda Can”, 2013, 35″ x 17″

 

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“A Universe In A Used Candy Bar Wrapper”, 2013, 35″ x 9″ x 5″

Ray has it all:  passion, intelligence, originality, and amazing powers of eidetic visualization.  Technically dazzling, indeed, mesmerizing, Ray’s paintings show a profound and capacious mind, seeking singular, spontaneous perfections.  His pictures unite the extreme opposites of precision and freedom, abstraction and realism, perverse sensualities and hard hitting machismo.  It is doubtless this hunger to unite extremes, which give Ray’s art its sense of largeness.

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Artes Magazine Review

November 2009

New York, New York

Peter G. Ray, Canadian Artist Creates a New Vocabulary of Painting

The persistent autumn rain had turned the streets of lower Manhattan to patent leather, slick and reflecting a maze of city lights, like slender, broken threads of yellow, red and white at my feet. With daily regularity, in late afternoon, Houston Street serves as a busy cross-island artery, draining the living city of its commuter life blood; as an endless stream of cars inches toward the Holland tunnel to the west and the Williamsburg Bridge to the east.

I dodge the gleaming fenders of creeping traffic to find my way to bridgegallery, a Lower East Side destination that has long championed the cause of emerging and established artists, alike. In her narrow studio, brightly-lit against the fading light of day, galleryist and curator, Marilyn Garber, once again offers an evening event, showcasing unique contemporary art. I am there to meet artist, Peter G. Ray (known as G-Ray),  Bulgarian by birth, but for many years a Canadian citizen who splits his time between Montreal and New York City.

His gentle demeanor and Old World graciousness belie his artistic conception of a cosmic realm shaped by a rich symbolic language of gyrating protoplasmic vortices and fanciful, sexually-charged biomorphic life forms that sweep the viewer up into a vertiginous, whirlwind excursion to the edge of a universe of his own creation. The lens of G-Ray’s painterly vision is like that of the Hubble telescope turned earthward, capturing the depths of the human condition in a series of serendipitous double exposures.

His large, glossy canvases pulsate with the barely-controlled chaos of rich, complex color planes, floating planetary spheres and an ambiguous genetic soup of intra-uteral tissue forms, colliding and re-ordering themselves as though to illustrate the divinely-ordered command in Genesis verse in the moments following, “Let there be light!” Reaffirming, yet threatening, one is left to wonder, in his pre-Darwinian swirl of deep space-meets-coital life force, what supernatural organisms might ultimately spring from the “Big Bang” energy of G-Ray’s fantastic universe.

peter g. ray painting

G-Ray, ‘Scar’, 2009, mixed media on canvas, 50″ x 50″

Infinity is made material in G-Ray’s paintings, like layered veils of time and distance—invisible to the eye—until dissected and pinned back, like a scientific display, to reveal the pulsating source of life that unites us all as human beings. Umbilical cords spin like tornadoes, arising from distant Nebulae, only to narrow and thread their way through a maze of protean webs. What might have been hearts , in brilliant shades of crimson, hang suspended in fields of rich black; but now bursting like exploding stars to scatter nurturing energy to the farthest corners of the canvas. A pattern of life-sustaining aureoles endlessly replicates itself across a field of other-worldly figurative elements, suggesting a vibrant reproductive energy emanating from the depths of space, itself. Objects, like outsized map pins appear to hold portions of the construct in place, as if to say, “Viewer, you are here on our celestial tour.” The source of our very own existence, our soulful humanity, G-Ray would have us believe, can be found in the energy of these distant, yet familiar, celestial forms.

Informed by Expressionists like Pollack or de Kooning and perhaps the Surrealists, G-Ray nevertheless has developed a style which is all his own and is, by his own admission, “deeply personal.” Asked if his work is autobiographical, he says, “With each new piece I create, I feel I am giving birth to a new life form. I sometimes see myself in my work, but mostly, it is about creating something totally different through the use of paint. I am trying to create a whole new vocabulary of painting.”

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