Bio of Peter David Lewis

  • Born: 1953, NYC
  • BFA SUNY, Purchase, 1985
  • MFA Vermont College, 1996
  • Group Shows

    1995 Eli House Gallery, New Haven, CT
    1995 Contemporary Artists Center, North Adams, MA
    1996 Viridian Gallery, NYC, NY
    1996 Gallery of Contemporary Art, Sacred Heart University, Fairfield, CT

    Solo Shows

    1997 Eli House Gallery, New Haven, CT
    1997 Viridian Gallery, NYC, NY
    1999 AmbleDance, Clavarack, NY


    Silvermine Guild School of Art, New Canaan, CT
    Norwalk Community Technical College, Norwalk, CT

    Artist's Statement

    In our day, irony has become endemic in both the visual and literary arts. An age of relativity may be expected to drift in this direction, as artists seek to find some grounds for evaluating what they do. However irony is poor fodder, at best, and not a long term diet. I try to approach my own work with a full measure of sincerity.

    My sculpture and graphics are both grounded in a belief in the importance of landscape to humans and in the importance of investigating that relationship. I investigate and illustrate philosophical ideas in more abstract works and simple love of place in more literal works. For example, I was once struck by our similarity to drops of water. A water drop exists as a result of the surface tension that molds its shape. This tension is not a thing, but a set of circumstances. That is the water drop; a set of circumstances which can change leaving the droplet to dissolve into a larger set of circumstances such as the ocean, or a paper cup. So, we and and that exists are sets of circumstances with no more definitiveness about us than a water drop. This notion has given rise to photographs of water droplets hanging off branches, and also to sculptures of boat shaped constructions housing globes of light. The literal and the abstract are simply changing views of the same thing.

    Much of my work derives from or is a response to aspects of Buddhist philosophy which seek to dissolve dichotomies, to dissolve surface tensions. I also have an interest in the history of Western notions of the sublime, and its present day uses. This is an area in which it is difficult to avoid irony, ever since the sublime became a marketing tool.

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