'Reflection Section' is a photograph of the artist’s studio floor, scanned and heavily processed in Photoshop until its original provenance is indistinguishable. Peter wanted to record the collapse of a painting as a way to keep an image moving. To execute this it was important for Peter that the source image came from such a relevant and intimate place as his own studio is. Peter usually starts with a figurative image of the wooden studio floor covered with paint patterns. But then he modif…

'Reflection Section' is a photograph of the artist’s studio floor, scanned and heavily processed in Photoshop until its original provenance is indistinguishable. Peter wanted to record the collapse of a painting as a way to keep an image moving. To execute this it was important for Peter that the source image came from such a relevant and intimate place as his own studio is. Peter usually starts with a figurative image of the wooden studio floor covered with paint patterns. But then he modifies it into something abstract through layering, sometimes with painting or, in this particular case, with Photoshop. Conceived at the same time as his other Rise Art prints, in this series Peter wanted the explore what he’s termed ‘painting on the move’: the potential collapse or failure of painting as a way to invigorate the work itself, adding the possibility of becoming something new. 'Reflection Section' is an Archival Pigment Print on 315 gsm Cotton Rag paper. The edition of 15 hand numbered and embossed prints has been approved by the artist and comes with a signed certificate of authenticity.

Peter Lamb was born in 1973 and lives and works in London. In 1996 he graduated from the Camberwell School of Art, London. Solo Exhibitions: Warm Time Machine, Monika Bobinska Gallery, London (2008); The Unemployed Prophet, CTRL Gallery, Houston, Texas, USA (2007); The Art of Dickies and Pollocks, …

Peter Lamb was born in 1973 and lives and works in London. In 1996 he graduated from the Camberwell School of Art, London. Solo Exhibitions: Warm Time Machine, Monika Bobinska Gallery, London (2008); The Unemployed Prophet, CTRL Gallery, Houston, Texas, USA (2007); The Art of Dickies and Pollocks, Kontainer Gallery, London (2006). Recent Group Exhibitions include: The Perfect Crime, curated by Phill Allen and Dan Coombs, 4a Gallery, Malvern (2010); By Chromed Hooves It Travels Now, Annie Wharton Gallery, Los Angeles (2010); Ist Show, Strezelski Galerie, Stuttgart, Das vertraute Unvertraute, Wurttembergischer Kunstverein, Stuttgart (2010); PlusArtProjects, Bankside, London (featuring Damien Hirst, Anselm Kiefer) (2009).

'Liberating' is one of the first adjectives that spring to mind when facing the work of the artist Peter Lamb. His paintings ooze as sense of rebellion. A certain punk attitude, a sort of postmodern abstract expressionism mixed with some pop art and 'new-wave' touches. His paintings are fearless, unafraid of their own potency and the possibility of a formal collapse. Their inner strength comes from the strange coupling of incongruous creative forces and the process of fresh paint. He shows a deep knowledge of painterly traditions and techniques, as well as a very astute use of colour. But he never allows the weight of academia to cage his wild imagination and creativity, and this is why his work is always fresh and enlightening.