Peteris Ciemitis proudly formed part of the line-up of the State’s leading portrait artists in the “Skin Deep” exhibition opening at Moore’s Gallery Friday 9 March 2018.
‘Skin Deep 2018’ was the fourth annual exhibition by the WA Portrait Artists Association which comprised over fifty portraits by the fourteen participating artists whose work ranges from small to very large, from photorealism to expressive interpretations. The exhibition presented a diverse range of concepts and techniques representing contemporary portraiture at its very best.
This year, the exhibition also included a secret room; “Hidden”. What was there?
© ‘Discontent in the Age of Anxiety’ 2012 acrylic on canvas Peteris Ciemitis
September 22 to November 22, 2014
Peteris was invited and participated in the inaugural Qingdao Art Biennale.
Peteris Ciemitis was invited to represent Australia in Shanghai/Changzhou International Art Festival, along with 100 international artists, who produced works during the event. Ciemitis’ painting “Identity Dissonance” extended the idea of a mute self-identity, and was acquired by the Boesheng Museum of Art for it’s permanent collection.
View a short background video to the Festival, and the production of
Peteris Ciemitis co-presenting in a panel discussion at the National Museum of
Art “Arsenals, during the “Latviesu maksla trimda” exhibition.
A major exhibition open at Latvijas Nacionala makslas muzeja izstazu zale “Arsenals” (the Latvian National Museum of Art) which remembers the journey and new lives of Latvian’s dispora peoples. The exhibition, “Latviesu maksla trimda” presented audiences with works by approximately 100 artists including Imants Tillers, Janis Nedela and Peteris Ciemitis. Notably, at the time of the exhibition, the National Museum and also acquired Ciemitis’ painting “Pasa Galva” for its permanent collection.
© ‘Are We Not Drawn Onward to a New Era’ 2013 ink on paper Peteris Ciemitis
“Penumbra” (the in-between shadow and light) became the core theme for artists Peteris Ciemitis, Maris Raudzins, Maija Medinis, Gabrielle Mazalevskis and Len Zuks at a joint exhibition at Heathcote Museum and Gallery in April. Curated by Olimpia Cullity, the exhibition dealt with the idea of cultural and spatial displacement in contemporary society. A keynote of the event was also an artist talk by Peteris Ciemitis on “Creativity in Confirmed Spaces”.
Arbus referenced in the palindromic “are we not drawn onward to a new era?”, by Peteris Ciemitis, exhibited in “Penumbra”.
Peteris Ciemitis’ OEHLERS’ being viewed at the PAA Exhibition Parliament House,
Parliament House, Canberra, became the scene of an exhibition curated by Portrait Artists Australia, celebrating Australian innovators and achievers. Coinciding with the publication of “The Artists Book – Portrait Artists Australia – Ten Years”, the exhibition surveyed portraiture by leading artists across Australia, and included Peteris Ciemitis’ painting “OEHLERS”, depicting jazz innovator, Jamie Oehlers.
Mountaineer Patrick Hollingworth with painting
“Portrait of a Man as if he Were Air”
September 16 – 26, 2011
During his successful 2010 climb of Mount Everest, mountaineer and scientist, Patrick Hollingworth provided daily updates to his website with great honesty and candour. His willingness during the climb to openly discuss his previous experiences with depression, and the subsequent raising of awareness for men’s health issues, contributed to Patrick’s expedition being widely followed.
One year later, Patrick once again entered the unfamiliar terrain of public attention when his painted likeness; “Portrait of a Man as if he Were Air” by Peteris Ciemitis was announced a finalist in the prestigious Black Swan Portrait Prize.
“In the painting, there are obvious expressions of self doubt, resolve and strength. But the image also is layered with ideas of the mountain, of death on the mountain, of ice, of life and biology, of lines of thought and intellect. Mostly it is about conditions; the constant flux of the environment, the light, cold and fury within which one becomes subsumed as if one were part of it … as if one were just air.”
The Black Swan Prize
Perth Town Hall, Perth, Australia
© ‘Making Sense of Place #4’ 2007 watercolour on paper Peteris Ciemitis
A portrait of the late Professor George Seddon (entitled “Making Sense of Place #4”) by Perth based artist Peteris Ciemitis has been accepted as a gift to the National Portrait Gallery by it’s owner, his widow Marli Wallace … who said Seddon would have been very pleased and quietly proud of the gift. “It will ensure it is on display for all to see. I have been privileged to mind it for a while.”
(excerpt from Artist’s Chronicle, Issue 136 Jan/Feb 2011)
October 22 – November 7, 2010
Executive Director of Artrinsic Inc. Tina Wilson, opened a new solo exhibition by Peteris Ciemitis, ‘Disquiet’, to a packed gallery at Gadfly in Perth. Paired with a concurrent exhibition (‘Menagerie’ by Esther Erlich), the exhibition ‘Disquiet’ presents samplings of work by Peteris Ciemitis over the past 18 months. The images in the exhibition circle around ephemerality, tension, transience and resolution.
Peteris Ciemitis presented a one hour artist talk at Gadfly Gallery 6pm November 4, 2010
© ‘Archer’ 2010 acrylic on linen Peteris Ciemitis
September 23, 2010
Peteris Ciemitis has received the Black Swan Prize for his portrait of Australian performer, festival director and arts advocate Robyn Archer. Judges comprised Artrinsic Board Member, Carl Altmann; former Chair of the Art Gallery of Western Australia (AGWA), Helen Cook and Director of the AGWA, Stefano Carboni, who remarked: “The colours are subtle while the finer details are suggestive of the underlying structure of the sitter’s features. In addition, there is that delightful essential which is the assured ability to draw. It was Michelangelo who maintained that before one could paint, one must be able to draw, which means that the artist has to be skilled in observation and engagement with the sitter. The painting invites the viewer to come in close as though to examine the landscape of the face.”
The 2010 Black Swan Prize drew extensive National entries, and hung 42 finalists reflecting work by leading artists from each State. In recognition of its rapid ascent, the Prize was also the subject of a documentary production.
View an excerpt from the documentary here: