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1953 Born in Kingston,
Jamaica 1962 Emigrated from Jamaica to Panama. Lived in Canal Zone. Moved to Sacramento, California. 1976 San Jose State University, San Jose, California. Bachelor of Arts; Art (Painting). 1979 San Jose State University, San Jose, California. Master of Arts; Art(Painting).Vice-President, San Jose Art Center, San Jose, California. |
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| "Night Crossing"
1990 |
"Blue Swan #19" |
"Voyage" 1992 |
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| "Phisical Geography"
1991 |
"Blue Swan #24" |
Solo Exhibitions
| 1979 | "Decadence and Permutations" San
Jose State University, CA "Paintings" San Jose Art Center, San Jose, CA |
| 1984 | "Paintings" Factory Place Gallery,
Los Angeles, CA "Paintings" Triton Museum of Art, Santa Clara, CA |
| 1986 | "Paintings" San Jose Museum of
Art, San Jose, CA "Paintings" Freeman Gallery, Palo Alto, CA |
| 1987 | "Recent Abstract Images" Monterey Peninsula Museum of Art, Monterey, CA |
| 1988 | "Paintings" Bruce Velick Gallery,
San Francisco, CA "Abstract Painting" Ahlone College Art Gallery, Fremont, CA |
| 1989 | "New Paintings" Jennifer Pauls
Gallery, Sacramento, CA "Paintings" d.p.Fong Gallery, San Jose, CA |
| 1990 | "Works on Paper" Kunsthaus Ostbayern,
Viechtach, Germany "Works on Paper" d.p.Fong Gallery, San Jose, CA |
| 1992 | "Paintings" Kunsthaus Ostbayern,
Viechtach, Germany "The Substance of Painting" d.p.Fong & Spratt Galleries, San Jose, CA |
| 1993 | "Stammtisch Paintings" Kunst/Raum,
Stuttgart, Germany "Paintings and Small Works" Werndl Corporation, Rosenheim, Germany "Koto Cycle Works" A & M Art Gallery, Chiba, Japan |
| 1994 | "Sumerian Farewell Paintings" Frederick Spratt Gallery, San Jose, CA |
| 1995 | "Blue Swan Suite Paintings" Rosenberg+Kaufman
Fine Art, New York City "Blue and Black Swan Suite Selections" Parish Gallery, Washington, DC "Black Swan Suite Paintings" Frederick Spratt Gallery, San Jose, CA |
| 1997 | "Replicant" Rosenberg+Kaufman Fine Art, New York City |
| 1998 | "Viechtach/New York" Galarie Weber, Viechtach, Germany |
| 1999 | "Caribbean in my Sol" Montclair University Art Gallery, Montclair, NJ |
| 2000 | “Fields” Rosenberg + Kaufman Fine Art, New York City, NY |
| 2002 | “Dreams” Parish Gallery, Washington, DC |
| 2003 | “Strings” Rosenberg + Kaufman Fine Art, New York City, NY “Paintings” Stella Jones Gallery; New Orleans, LA |
| 2006 | "Strings Paintings" N.Y. Arts Gallery at Beijing, Beijing, China |
| 2008 | “Peter Wayne Lewis – Booster Paintings” STADTIDCHE GALERIE IM CORDONHAUS, Cham, Germany |
| 2009 | “Peter Wayne Lewis Paintings: GREETINGS FROM KINGSTON/NEW YORK” Pickled Art, Unit # 1, Beijing, China |
| 2010 | “Peter Wayne Lewis: Beijing Homage” Green Tea House Galleries (both locations), Beijing , China |
| 2011 | “PAINTINGS FROM MIDDLE EARTH PART 2" Matthias Kuper Galleries Beijing | Stuttgart, Beijing, China |
Group Exhibitions
| 1978 | "Gallery '78" San Jose Convention
Center, San Jose, CA "Prints and Drawings" San Jose Art League, San Jose, CA |
| 1979 | "Gallery '79" San Jose Convention
Center, San Jose, CA "Gallery '79" Triton Museum of Art, Santa Clara, CA "Studio Art" Union Gallery, San Jose State University, San Jose, CA |
| 1981 | "International Art Exhibit Mexico Viva"
Quinta Loreto Casa, San Miguel de Allende Guanajuato, Mexico "International Art Fair Art-West Germany" Blitz 3-Art, Wies, Germany "Members Exhibition" San Jose Art Center, San Jose, CA "International Art Exhibition" England, Touring: Whitelands College, Roehampton Institute in London, West London, Institute of Higher Education in Twickenham, Cockpit Theatre in Marlybone, London College of Art in Lincoln. |
| 1982 | "A Group Exhibit in 2-D" Works
Art Gallery, San Jose, CA "Green Mountain Art Show" Green Mountain College, Poultney, VT |
| 1983 | "Disguises and Adornments" San
Jose Institute of Contemporary Art, San Jose, CA "Thirty Statements" San Jose City Hall, San Jose, CA |
| 1984 | "San Jose/Santa Cruz Express" Mary
Porter Sesnon Art Gallery, University of California at Santa Cruz,
CA "KQED Art Award Exhibition" San Francisco Museum of Modern Art Gallery, San Francisco, CA |
| 1985 | "Squid Art '85" Santa Cruz Art
Resource Center, Santa Cruz, CA "Expressions" San Jose Art League, San Jose, CA "Valentine Show" San Jose Institute of Contemporary Art, San Jose, CA "New Art in the West" Vorpal Gallery, San Francisco, CA |
| 1986 | "First San Jose Biennial" San Jose
Museum of Art, San Jose, CA "6 California Artists" Vorpal Gallery, San Francisco, CA |
| 1987 | "John DeVincenzi and Students"
San Jose Art League, San Jose, CA "The First New San Jose Renaissance Exhibition" Union Gallery, San Jose, CA |
| 1988 | "50th Anniversary Exhibition, San Jose
Art League" San Jose Museum of Art, San Jose, CA "Los Angeles Art" Bruce Velick Gallery, L.A. Convention Center, Los Angeles, CA "New Year, New Work, New Space" Bruce Velick Gallery, San Francisco, CA |
| 1989 | "Two Dimensions" San Jose University
Art Gallery, San Jose, CA "Caribbean in the Bay" Alligator Gallery, San Francisco, CA "Caribbean in the Bay" Western Addition Cultural Center, San Francisco, CA "Intercessors" Allegra Gallery, San Jose, CA "Abstract Art" Jennifer Pauls Gallery Sacramento, CA |
| 1990 | "Art Document '90 in Hokkaido"
Hokkaido Museum of Modern Art, Sapporo, Japan "Positive Actions/Visual Aid" Institute for Contemporary Art, Clocktower Gallery, New York "Peter Lewis/Kelly Detweiler" American Center, Sapporo, Japan "Two Part Harmony/Faculty Exhibition" Gallery One, San Jose State University, San Jose, CA "Faculty Exhibition" Walter/McBean Gallery, San Francisco Art Institute, San Francisco, CA "Charitable Inventions" San Jose State University Art Gallery, San Jose, CA "Crossing Currents" d.p.Fong Galleries, San Jose, CA "Twenty-two Years" Jennifer Pauls Gallery, Sacramento, CA |
| 1991 | "The Far Field Exhibition" Excellent
Coast Company, Ltd., Yokohama, Japan "Peter Lewis, Bert Yarborough and Far Field Artists" Toyota Corporation, Toyota City, Japan "Pacific Rim Art Now, 1991" Otaru Municipal Art Museum, Sapporo, Japan "Pacific Rim Art Now, 1991" JAL Corporation, Sapporo, Japan "Drawings" 3 Com Corporation, Great America Site, Santa Clara, CA "Faculty Exhibition" Walter/McBean Gallery, San Francisco Art Institute, San Francisco, CA |
| 1992 | "Faculty Exhibition" Walter/McBean Gallery, San Francisco Art Institute, San Francisco, CA |
| 1993 | "The Tenth Summer" Stephen Rosenberg
Gallery, New York "Bay Area Prints" Amerika Haus StuttgarStuttgart, Germany |
| 1994 | "Latin America & Caribbean Biennial"
Museum of Modern Art Santo Domingo, Santo Domingo, Dominican Republic "Faculty Exhibition" Joe & Emily Lowe Art Gallery, Syracuse University, Syracuse, N.Y. "Exhibition to Honor Dr. Maya Angelou" National Arts Club Exhibition, New York "Abstract Paintings: Frederick Spratt Gallery" Stanford University Faculty Club Palo Alto. CA "The Figure" Dean Moniz Gallery, Sacramento, CA |
| 1995 | "Language of Art: Res IPSA Loquitor"
Art Initiatives, New York Lawyer's Association, New York "East Coast-West Coast: Peter Wayne Lewis, Milton Resnick, Ed Moses, Louise Fishman, Larry Poons" Frederick Spratt Gallery, San Jose, CA |
| 1995-98 | "Caribbean Visions: Contemporary Paintings & Sculpture" touring exhibition: Miami Art Museum, New Orleans Museum of Art, African American Museum (Dallas), Middlebury College Museum of Art, Wadsworth Atheneum (Hartford), Center for African American History and Culture, Smithsonian Institution (Washington), Center for Arts (Vero Beach, FL), Latin American Art Museum (Long Beach, CA) |
| 1996 | "Creative Concepts" Montclair State University, Montclair, NJ |
| 1997 | "One of a Kind" Rosenberg+Kaufman
Fine Art, New York City "Nation Wide Electric Eye" Frederick Spratt Gallery, San Jose, CA |
| 1997-99 | "Seeing Jazz" touring exhibition: Smithsonian Museum, Washington; International Gallery, Smithsonian Institution, Washington; Jass Museum, NY; Western Gallery, Bellingham; Munson-Williams-Proctor Institution Museum of Art, Utica, NY; Hunter Museum of American Art, Chattanooga, TN; Tampa Museum of Art, Tampa; Joslyn Art Museum, Omaha, NE; Additional sites in US and Europe. "Visual Spirits of Latin America" Promo-Arte Latin American Art Gallery, Tokyo, Japan |
| 2000 | "Latin American & Caribbean Contemporary Art Today" Miura Museum of Art, Matsuyama, Japan |
| 2001 | “Accumulations,” Kent State University Art Gallery, Kent, OH;
Curated by Martin Ball, show included: |
| 2002 | “20 Years – 60 Artists” Kunst Raum Gallery, Stuttgart, Germany
“Intrepid” Rosenberg + Kaufman Fine Art, New York City, NY “Exposition Magnet” Yassine Art Center, Dakar, Senegal “Latin American Art 2002” Promo-Arte, Tokyo, Japan “Fifteen Jamaican Artists” Skoto Gallery, New York, NY |
| 2003 | “Biennial Exhibition” National Gallery of Jamaica, Kingston, Jamaica |
| 2004 | “Un-Convention" Rosenberg + Kaufman Fine Art, New York City, NY |
| 2005 | “paper | panel | canvas” Rosenberg + Kaufman Fine Art, New York City, NY
“30th Anniversary & Biennial Exhibition” National Gallery of Jamaica, Kingston, Jamaica |
| 2006 | “New Possessions, An Island’s Independence: Jamaican Art on the 44th Anniversary of Jamaican Independence” Art Museum of the Americas, Washington, DC
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| 2007 | “Journeys: 35th Anniversary of Jamaica and China Diplomatic Relations” Galleria on Third, Beijing, China |
| 2008 | "Inaugural Exhibition: SUNSHINE INTERNATIONAL ART MUSEUM" Sunshine International Art Museum, Songzhuang/Beijing, China |
| 2009 | "Caribbean Canvas: Identity in an era of Globalization" Multitudes Contemporary Art Center @TeleAmerica, Miami, Florida
"VIRUS: a group exhibition at OASIS GALLERY" Oasis Gallery, Beijing, China |
| 2010 | “TWO AMERICAN MASTERS + ONE," Oasis Gallery Beijing, China |
| 2011 | “SELECTIONS 11" Stephen D. Paine Gallery Boston, MA
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Collections
| A.D. Plant Co., Yokohama, Japan National Galery of Art, Kingston, Jamaica San Jose Museum of Art, San Jose, California Cosima Hotel, Tokyo, Japan Rhiga Royal Hotel, Narita, Japan Hilton Hotel, San Jose, California N.K. Create Corp. Tokyo, Japan A&M Co., Chiba, Japan Art Stacks Co., Marin, California Language Pacifica Co., Palo Alto, California Chenen, Cohen & Linden Corp. Marina del Rey, California The Vivian and Gordon Gilky Center for Graphic Arts at the Portland Art Museum, Portland, Oregon. Kunsthaus Ostbayern, Viechtach, Germany Guenter Paal & Associates, Stuttgart, Germany Salon de Arte Osaka, Japan |
Artist’s Statement - Peter Wayne Lewis
| "Strings" I am from Jamaica, a Caribbean melting pot. I came to the United States when I was nine years old and, after forty-five years, I still do not have a sense of being at home even though I have become an American citizen. I'm still trying to find a balance. When I create, this becomes reflected in an uncomfortable formal balance. Being an immigrant is crucial because it determines how one thinks about stability. It's the imbalance that creates the tension in the work. I have an understanding of imbalance - this adds psychological charge to the work, which makes it human. Throughout my travels as an artist, I have visited many countries, including Senegal, Germany, France, Italy, Czech-Republic, Cuba, Panama, Japan and, over the last four years, China. My migration has led me to leasing a studio space in Beijing. The contemporary Chinese art scene has exploded on the world stage and I wanted to bear witness to it as an artist and educator. Painting is a ritual act. I'm trying to discover a link to the spiritual. I aim to transcend the flesh. Ritual describes something greater than it is. It becomes a connection to intangible things, the realm of the spiritual. For me a ritual act is a bridge to different sorts of experiences. The shaman bridges the realms of flesh and spirit to bring back knowledge that can be shared. My religious beliefs are akin to those of the shaman. I am devoted to making these pictures. I don't want my paintings to be passive objects. I want them to generate excitement, questioning, even intrigue. Some perceived imbalance or discord allows movement and rhythm.? I'm very conscious of the formal attributes. I teach those compositional elements of formal balance, harmony, and unity. Personally, I'm trying to shake that up in my work. I'm trying to find other ways of creating harmony, ways that generate some uneasiness. We are formed in darkness and born into the light. There is a metaphorical structure in the work. I do not present a mimetic structure. The picture suggests images of the natural world: trees, sky, and earth. I can't deny that. But I'm not consciously painting things I see. I'm interested in the phenomenon of the horizon that separates the opaque earth from the transparent sky. I paint primarily at night. There is a different presence of light, the nocturnal energy - a different kind of stillness. I'm interested in graceful Chinese calligraphy and Japanese sumi ink paintings. It was interesting to be introduced to the work of the master painter, Ba Da Shan Ren (1626-1705) of China, during my painting session in Beijing last year. I saw parallel pictorial relationships between his work and mine. This is the beauty and education of travel. There's an idea in string theory that we exist as strings. We're vibrating strings. This idea links physics to my great love, music. According to string theory, if we could magnify a point, we would actually see a vibrating string. Matter is a series of points, not unlike a strand of DNA. The vibration of the strings creates harmony. The laws of physics can be compared to the laws of harmony. The universe can be compared to countless vibrating strings. The universe is a symphony of color and light.? In 1982 I traveled with my wife, Catherine, to Europe. We went to see the pre-historic cave paintings at Lascaux. I think of these caves, demarcated by the stalagmites and stalactites, as earth's first Gothic cathedrals. I had a pretty profound experience. I was overwhelmed. I started thinking about architecture, ritual space, the animals, and things that threaten us. I cried. Those paintings altered what I was doing. I've always been interested in building images that move people in similar ways. I have a great love for the materiality of paint ? the tactile sensation, scarification of the paint, that writhing, dancing movement of the pigmented mud. There's a comfortable melding between my sensibility and paint. My body feels it. It makes sense for me. My choice to paint the unknown hopefully leads to some sort of resonance, something of permanent value. I strive to present reflections of my collective inner-world. They are not meant to inform, but to transform. Ultimately, the paintings live and die in the eyes of the viewer. |