Page 35

PETER DELLERT LABYRINTH III, 2018. Vintage sheet music cut and reassembled on laser print on washi. 420mm x 297mm framed to 20” x 16”

ticle I read in the Economist about the plight of the murres, circumpolar birds who live on cliffs, all crowded together in large colonies. Their very pointy eggs are all uniquely colored and marked, as if by Pollock. Warming ocean temperatures sometimes limit their food availability and they starve to death en masse. So they are literally in a bind, hence the rope. But I also used the rope to bind them, to protect them, and maybe we can clean up our act and live harmoniously with the murres and all the other creatures out there. Do you like to travel? Wondering, if your art has anything to do with your travel and leisure experiences? ( i.e. Postcards from Japan series?) Peter: I love to travel. I am blessed to be able to travel more now than ever. When I was younger I would go to Central America every winter to go SCUBA diving, and birdwatching and exploring. I met Motoko in 2010. Since 2011 I have been to Japan with her six or seven times. I started taking photos there, printing them on washi (Japanese rice paper) made specifically for laser printers, and

building collages on them, or behind them as in the cut series. Aside from the actual images I take, Japan has been creeping into my art subconsciously I am sure. It is an alluring and complex culture and it takes time to appreciate and understand it. We travel elsewhere too, and sometimes, just to Cape Cod or Maine, which I love. Can you describe the work involved you had to go through to get so many shows, solo and group? So much time must have been involved in getting accepted, plus, all the work to prepare. Its not always the favorite part of the artists to market themselves. How do you balance work and marketing yourself? Peter: People who know me, and even some gallerists know that I am tireless and keep trying, keep asking for shows, etc. I apply all the time to lots of venues but get accepted seldom. You have to apply to ten shows to get accepted to one. I visited the gallery in Kyoto twice before I secured a promise to show in 2018. I have applied to some residency programs five and six times and never been ac-

cepted. It can be very frustrating and the online applications might be easier if they were standardized but each one is different and sometimes when you hit SAVE, it doesn’t and you have to start all over again. I do work at it and I try to show outside my own back yard. The show at aMuse is no exception. It was intentional, although I was introduced by a local friend, Mary Nelen. Starting off as a potter and then becoming a furniture maker, and then a sculptor, how did this all evolve for you? What choices did you have to make to go from one to the next? What is the common thread throughout? Peter: The winter after I graduated from Clark I took a pottery course out of curiosity and stave off cabin fever. I fell in love with clay. That led to a three-year binge including an extremely eventful and opportune apprenticeship with a master potter in Maine, Ron Burke. He also had a woodshop on the premises so I got a bit of help with those tools too. Continued on next page... THE ARTFUL MIND JULY 2019 • 33

Profile for harryet candee

the artful mind july 2019