peter anderson

I work in series, exploring how rhythm, memory, and structure shape perception. Over the past year, I’ve been developing three interconnected bodies of work—Diebenkorn Variations, The Condition of Music, and Trout Fishing in America—each translating movement and emotion into layered abstraction. In these pieces, color, texture, and line function like notes in a score: rhythm becomes form, pause becomes silence, and gesture becomes voice. Musical structures, literary fragments, and physical process overlap—collage, print, and drawing merging into a single field of motion and reflection. Whether inspired by Bach’s Baroque dances, Brautigan’s language, or Diebenkorn’s geometry, these works share a common pulse: an improvisation between order and chance, control and surrender, where meaning arises in the space between one mark and the next.