Italian
LONDON. The 17th solo exhibition of British painter Peter Joseph at Lisson Gallery, Peter Joseph: The Early Works, unveils a curated selection of rare and formative pieces from the 1960s and 1970s. These works trace the artist’s evolution from vividly coloured geometric compositions and shaped canvases to the restrained rectangular and square formats that became hallmarks of his later career. Spanning the years 1964 to 1978, the exhibition showcases 12 paintings alongside previously unseen sketchbooks, documenting Joseph’s innovative experiments with colour and form.
The exhibition begins with Joseph’s early paintings, which are characterized by their dynamic use of primary colours and performative qualities. These works garnered him critical acclaim and institutional recognition, with exhibitions at venues like Camden Arts Centre and Kenwood House in 1966. The journey then transitions to his Cinema Paintings, precursors to the Border Paintings that defined the 1980s and 1990s.
Joseph’s transition to painting full-time in the early 1960s, following a career in graphic design, marked the emergence of a distinctive voice in contemporary art. Drawing influences from the Italian Renaissance to modernist movements, he sought to expand the boundaries of abstraction. His early inspirations included the grand scale of American abstract expressionists and the works of artists like Ellsworth Kelly and Kenneth Noland. However, Joseph eventually distanced himself from the “public scene” of contemporary art, choosing instead to immerse himself in the study of older painting traditions, culminating in his relocation to Gloucestershire in the early 1980s.
Among the notable works in this period are the 30-foot painting Colour Continuum (1966), which captivated audiences with its immersive engagement of colour and light, and the monumental Yellow Wall (1969), a 70-foot installation created for Camden Arts Centre. The latter transformed the gallery into a meditative space, exemplifying Joseph’s philosophy of art as a “real situation,” designed to enhance the viewer’s sense of presence and introspection.
A pivotal moment in Joseph’s career occurred in 1970, giving rise to the Cinema Paintings. While attending a screening of a Luis Buñuel film, a projector malfunction left the artist enveloped in the residual light on the silver screen. The flickering light at the screen’s centre, framed by a darker border, deeply resonated with him. This experience inspired a series of paper collages, exploring the nuanced interplay of light and form. Joseph described this discovery in a conversation with Hans Ulrich Obrist, noting, “It wasn’t just a simple tone or colour… it had a delicacy, a potential for reflection.” This revelation informed much of his subsequent work.
Throughout his career, Joseph’s art was showcased in influential group and solo exhibitions at Lisson Gallery. These included collaborations with artists such as Derek Jarman, Raymon Ginghofer, and Keith Milow in 1967, as well as a two-person exhibition with Carmen Herrera in 2006. Despite these associations, Joseph charted an independent path, favouring subtle tonalities and minimalist compositions over bold architectural forms.
Peter Joseph’s work is celebrated for its emotional depth and profound exploration of spatial phenomenology. His paintings are, as he described, “not so much to show as to live with,” offering viewers moments of immediacy and timelessness. Peter Joseph: The Early Works pays tribute to his enduring impact on contemporary art, highlighting his commitment to creating spaces of quiet transformation through the interplay of light and colour.
