Wednesday, 28 September 2011

Studio Views: Architectural Interruptions

Charley Peters, Untitled Wall Drawing (2011), Graphite on Wall

 Recent drawings in the studio has been developing the aesthetic concerns of the interrupted line. In a series of works on paper produced over the last few months parallel lines are systematically drawn but masked areas allow the lines to change direction and explore the resultant linear progressions. In Untitled Wall Drawing (2011), the architectural restraints of the corner of the studio replaces masking as the originator of the linear interruptions.

Left: Charley Peters, Praxis (Interrupted) (2011), Ink on Paper  /  Right: Charley Peters, Untitled Wall Drawing (Detail) (2011), Graphite on Wall

Sunday, 18 September 2011

Studio Views: Work in Progress, Covariance Series

Charley Peters, Covariance (2011), Gaffer Tape, Canvas and Wall

Another drawing with tape is being developed on the studio wall. The black and grey tape lines, of varying weights and widths, progress across the white wall, colliding with canvas squares and altering their trajectory.

Saturday, 17 September 2011

Studio Views: Work in Progress, Interrupted Vertical Lines

Charley Peters, Works in Progress (2011), Ink on Paper

Developments of a new series of drawings incorporating interrupted vertical lines, drawn sytematically parallel to each other. The ink lines are layered in an unpremeditated manner, causing colours to mix on the paper.

Saturday, 10 September 2011

Studio Views: Work in Progress, Praxis Series / Grids

Charley Peters, from Praxis series (2011), Ink on Paper

Studio Views: Moiré Drawings

Charley Peters, Moiré Sketch (2011)

 See also:  and


The word 'moiré' refers to visual interference patterns, which are created when two or more layers of simple dot, line, or grid structures overlap, producing an additional pattern on top of the original layers. Moiré patterns are often an undesired artefact of images produced by various digital imaging techniques, for example when scanning a halftone image, and is often an unwanted side-effect in printing processes.

The term originates from moire (or moiré in its French form), a type of textile characterised by a rippled or 'watered' appearance. In images, when two grids or series of parallel lines are overlaid at an angle, a similar effect is generated. The nonlinear interaction of the optical patterns of lines creates a visible pattern of roughly parallel dark and light bands, the moiré pattern, superimposed on the lines.

In a number of recent drawings from the series Rupture, I have generated moiré patterns through the layering of systematically produced lines. Generally speaking, instances of such visual disruption to images are generated unintentionally through the mechanical or digital processing of an image. As with all drawings rendered by hand, however, my drawings contain random deviations from a mechanically produced constant. Much of my recent work and research has similarly been characterised by such a dichotomy – the tension between the systematic and the uncontrollable, in both aesthetic and process terms, and references to the relationship between the mass-produced image and the unique object.

Charley Peters, drawings from sketchbook (2011)

Thursday, 8 September 2011

TBC Artists' Collective: A Message To... Houston

Charley Peters, A Message To... Paul Neal 'Red' Adair (2011), Folded Paper on Wall

TBC's latest project, A Message To... Houston has now been completed and images of the installation of the works by myself, Laura Davidson and Beverley Bennett are now available at

My collaboration with Davidson was inspired by research into the firefighter 'Red' Adair. Davidson interpreted a set of instructions supplied by me relating to a series of drawings made from folded paper for the project (above), which are installed in my studio in London. On the 25th of August Davidson recreated the works in Houston, Texas, and scattered their subsequently burned remnants along the park in the middle of Heights Boulevard, which divides the lanes of traffic travelling across town (below). The work is the latest in TBC's ongoing exploration of drawing as performative, interventionist or documentary medium, moving the act of solitary mark making out of the studio and into a collaborative, interactive environment. For more information about the project click here.
Laura Davidson and Charley Peters, A Message to Paul Neal 'Red' Adair' (2011)