There is a transience in Peter Ceredig-Evans’ work that connotes a palpable, yet insubstantial, space. Flourishes of physical energy in the form of animated mark-making flit across the canvas here and there, like a thought remembered, only to be lost moments later. It is blurred and dreamy, yet not always tranquil; it washes over the viewer, engulfing them in a strange lethargy. One might feel their eye is endlessly chasing something: a figure, a thought, a word, a reality.
Peter’s art is concerned with the tension around the human experience, which often takes the form of human interaction. He sees this as the centre of humanity, saying “human interaction is more important than anything else; all we’ve got is relationships”.
He often focuses on the power of memory, giving his paintings a “dreamlike” yet tangible quality. Like a good poet, his work draws upon specifics, exact personal memories, images, conversations and people that resonate universally. He is especially interested in sense memories, saying that they give such a solid glimpse into one’s own past: “they are more than a photograph, they really are real.”