I was recently contacted by CAMA, Inc, out of New Haven regarding the need for artwork for the new Smilow Cancer Hospital at Yale. CAMA is an interior design firm whose niche specialty is designing spaces for the health care sector. CAMA founder, Rosalyn Cama, has been the driving force between incorporating interior design and art to create a more “healing environment.” I was contacted by CAMA with a request to purchase 7 paintings for permanent display at the new hospital. The stated desire was for an architectural theme to grace the walls of the 14th floor in-patient wing. Over 100 artists were selected to be part of this large art acquisition, made more interesting by CAMA’s niche concept of selecting art, and creating interiors, that facilitate healing. “Summer Cottage,” pictured here, is one of the seven images. All can be viewed here: http://www.peterbatchelder.com
An artist friend once told me, “not every painting needs a frame. But some paintings DESERVE a frame.” Though I agree with his philosophy, I’m not sure I can tell whether or not a painting “deserves” a frame or not. So, much as I hate it, I frame everything. But I’ve found that the simple black floater is the most appropriate frame for my canvases since, as frames go, it’s the most invisible frame one can use. But to buy unassembled, or joined floaters (simple as they are), is to spend a LOT of money on something you hope no one notices (at least not as much as the painting itself.).
I’ve supplied the basic millwork diagram I prepared for my local mill. I mitre, join, sand and finish milled poplar to create decent black floaters that show well in galleries, but (despite my time) cost 1/10th of what I paid (per foot) for commercially available frames.
I remember reading once that Wolf Kahn has a tendency to find a tube of paint, to buy it, bring it home, squeeze it onto his palette, and then doing a painting around that color. I’ve been wondering what would happen if color were the first consideration, and then when applied to one’s subject matter, would the result change the composition itself.
In “New England,” I had an idea of the color. Very bright, pastelly colors, no blue sky, and in general, colors that were not “typical.” I wanted to apply these colors to a very iconic New England barn, and see what the result was. What do you think? Unlike this image being painted in blues, lavendars, golds–which would create a strong, bold, austere structure–this barn appears more playful.
Born in Beverly, MA on Boston’s North Shore, Peter has spent time living throughout New England in both coastal and western Massachusetts, Martha’s Vineyard, Vermont and, currently, New Hampshire.
Peter trained in studio art at the University of Massachusetts, Amherst (BFA 1987) under artists Jack Coughlin, Lionel Gongora, John Grillo, and Hanlon Davies as well as Robert Cardinal at the Truro Center for the Arts.
After establishing himself as a successful graphic designer, Peter began pursuing his fine art career in 1992 on Martha’s Vineyard where he resided year-round for three years. Upon returning to the mainland he co-founded, as Creative Director, a web design and software company based in Bedford, NH. In the recent years he has achieved success as an artist with his representation at prestigious galleries in the Boston area, Provincetown and the Monadnock, NH region.
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