About Peter Colquitt

Since leaving Art School in the late fifties I have consistently exhibited my work and did so throughout my career in Education. I hold particularly strong views that practice was and is important to my role as a teacher. Sculpture was my preferred medium, I have also exhibited my Drawings and Lino prints.

My interest in the human form has been a major preoccupation since my student days. The human body and its complexities are an endless source of inspiration. My favoured medium is clay, this most fluid of materials allows me to engage in a whole range of surface tensions and and textures which seem to me more related to Drawing. To me Drawing is the most vital part of an Artists activity in evolving a work.

The preferred clay is very coarse in nature and stained with oxides fired to stoneware temperature.

Lino prints - I particularly like to work with the contrast of black and white, developing the design through texture and variety of line within the constraints of working with lino blocks. The range of cuts are finite which means the artist has to constantly reinvent the arrangement in order to create a new response. Recent prints have been concerned with men working in trees. This topic has now started to recall memories from childhood of playing in trees.

I have produced a series of prints dealing with the subject of Daphne and Apollo where trees have a role in the story. Apollo pursued Daphne who turned into a tree. The other subject recently used in my work deals with Greetings. I saw two very sculptural ladies using the standard form of greeting in the Charente, France. Watching and having to participate in this ritual, I realised how rich a topic it was . It is a very formal act filled with significance, emotional and spiritual elements and at time it is very like a dance. This simple ritual is an interesting subject with volumes and masses of form that make it exciting in sculptural terms and in print form.

The Poet Micheal Gibson made an interesting observation in a 1962 poem where he mused on motivation and the need that artists have to do what they must.

These are the opening lines of "Colquitt's Bright Sculptures":

"Sitting in breakfast sun I saw, as hostages against eternity,
Your sculptures ranged on wall and floor,
Full fashioned shapes of song and mystery"

The motivation to make is in itself a mystery, a most curious one - no other species seems driven to make artefacts.