Artists

Peter Joseph

Press release

British painter Peter Joseph’s 17th solo exhibition with Lisson Gallery presents a selection of early and rare works from the 1960s and ‘70s that track Joseph’s development from vividly coloured, geometric compositions and shaped canvases through to the muted rectangular and square paintings that would define the following decades of his career. Spanning the years from 1964 to 1978, the exhibition features 12 paintings, as well as previously unseen sketchbooks, which chart Joseph’s experiments with colour and form. The presentation journeys from earlier paintings that focus on vibrant primary colour and performativity – for which he received wide critical and institutional acclaim, including exhibitions at Camden Arts Centre and Kenwood House in 1966 – to his Cinema Paintings which pre-figure Joseph's signature Border paintings of the 1980s and 90s.

From his transition to painting full-time in the early 1960s after a career in graphic design, Joseph emerged as a key figure in contemporary art, seeking to challenge the boundaries of abstraction, drawing influence from the Italian Renaissance through to modernist movements. Influenced initially by the approach to large-scale he observed in the work of the American abstract expressionists, and then in artists such as Ellsworth Kelly and Kenneth Noland, he subsequently rejected the ‘public scene’ of contemporary art for a renewed focus on older painting, eventually leaving London for Gloucestershire in the early 1980s. Early works such as the 30ft painting Colour Continuum (1966) captivated audiences with their immersive engagement with colour and light, while the monumental 70ft Yellow Wall, made for Camden Art Centre in 1969, completely transformed a traditional gallery space into a meditative environment, garnering Joseph critical and institutional acclaim. These works embodied the artist’s philosophy of art as a “real situation”, prioritising the viewer’s experience of presence and introspection.

The show's chronology centres around a pivotal event in 1970 from which Joseph's Cinema Paintings were born. When the projector broke down during the screening of a Luis Buñuel film the artist found himself bathed in the pure residual light of the projector on the silver screen and sat staring at this blank space for some time; the flickering central zone of light of the empty screen edged by a darker border delineating the cinematic frame. Inspired by the nuanced relationship of these two elements, the artist set about devising paper collage studies to produce equivalent effects. This experience would come to define his oeuvre for many decades to come, containing what he described, in conversation with Hans Ulrich Obrist, as “a delicacy about it. It wasn’t just a simple tone or colour. And I realised that this, to me, had more possibility in it for what I could only call a reflection.”