Thursday 3rd of May, 2007
This series is a statement to a loved one’s medical treatment and illness. Though not sentimental, it is an illustration of emotions through anatomical paintings.
The illustrations were a beautiful source, and a great opportunity to let the details and the subtleties speak.
The beautiful blood veins and organs stood out in a perfectly pleasant day.
Technical, I was reducing my way of painting by using more line and pattern. Lines have always been a very important element in my work. The black markers brought out a diagram quality in the work. The hand written medical terms and directional lines became as much of the composition as the subject matter. A visual aid that is ironic because they're mostly unreadable and only health care professionals would be able to decipher their meaning. The drips of paint and spray- paint patterns became a structure for the images to break through, and to be a part of. I use tag sale items and unwanted household kitchen stuff to make patterns. Growing up I loved artists who used assemblage as their way of creating. As an adult, I feel the days of Rauschenberg are over. I want to make a “whole” painting, not a composition of parts. PATTERN BUILDS STRUCTURE and repeating pattern has power. The dots are a reference to Lichtenstein but not specificity for that, is to celebrate the difference between the automatic marks and the gestural brush work.
Artist Bio / CV
Peter Konsterlie credits a single painting class with deciding his artistic direction. He earned a BFA from Minneapolis College of Art an Design and attended Pratt Institute in Brooklyn NY. His series One Week’s Casualties, 240 portraits of U.S. soldiers who died during one week of the Vietnam War, ws shown at the Plains Art Museum, and in New Art International. His work has been seen a venues such as the Aldrich Museum CT, Sarah Bowen Gallery, Williamsberg, NY, Housatonic Museum of Art, Bridgeport, CT and Westport Art Center where he received honors.