The Art of Vibrant Connection – An Interview with Gary Petersen

An inside look at Petersen’s creative process and inspirations

Gary Petersen explores his journey from Staten Island to international acclaim, reflecting on how residencies, awards, and solo shows have shaped his bold, vibrant approach to abstraction and his evolving colour palette.

Gary Petersen’s work radiates an extraordinary sense of colour, shape, and rhythm, breathing life into geometric abstraction with a style that is both playful and profound. Over the years, he has established a unique visual language, characterized by bold compositions and vibrant palettes that defy the confines of the canvas, inviting viewers to delve into layered meanings and emotional resonances. His ability to balance precision with spontaneity results in paintings that seem to vibrate with movement, a testament to his mastery of form and hue. Petersen’s work not only captures the eye but also elicits an immersive experience—one that has earned him a well-deserved place in prestigious collections and institutions worldwide, including the Jewish Museum and the Dallas Museum of Art. From his studios in Brooklyn and Hoboken, he continues to push the boundaries of abstraction, bridging contemporary sensibilities with timeless artistic inquiries.

Gary Petersen’s mastery of colour and form infuses geometric abstraction with emotional depth, inviting viewers to experience art as connection.

Petersen reflects on the influences that shaped his journey, from his Staten Island upbringing to his unexpected turn from animal science to art during his college years. He shares insights into his creative process, shaped by transformative residencies and international exhibitions, and discusses the profound impact of awards like the Barnett and Annalee Newman Foundation Grant. Join us as Petersen offers a rare glimpse into his inspirations, challenges, and hopes for the lasting impact of his art.

How did growing up in Staten Island and studying at Pennsylvania State University influence your artistic development and approach to painting?

Staten Island is one of the five boroughs that make up New York City, and I grew up there in a lower-middle-class household. My parents did not have a college education, and I attended Catholic schools without any art classes. While I always had an interest in art and biology, as a first-generation college student, I felt pressure to become something rather than simply study something. When I was accepted to Pennsylvania State University, I chose to major in Animal Science, thinking I wanted to become a veterinarian. At that time, it never even crossed my mind to study art. But in my junior year, I took an art class as an elective and fell in love with it. I also began to socialize with some of the graduate art students and realized that this was what I truly wanted to pursue. I wanted to become an artist.

You have received several prestigious residencies, including at MacDowell and the Bogliasco Foundation in Italy. How have these experiences shaped your creative process?

The wonderful thing about artist residencies is twofold: you meet creatives outside your own field, and you’re given the gift of time and space. The luxury of time at both residencies allowed me to explore new avenues in my work, free from the usual day-to-day distractions. At Bogliasco in particular, the Ligurian light and vibrant colours of the Italian cityscape inspired me to push my colour palette even further.

What was it like being awarded The Barnett and Annalee Newman Foundation Grant in 2020, and how has this recognition impacted your career?

It was a complete surprise. After decades of work, it’s wonderful to be recognized and validated for all the effort you put in. The award gave me the freedom to focus on my studio practice without financial worries, and, additionally, the Foundation purchased one of my paintings and donated it to the Jewish Museum in New York as part of the Newman Foundation collection. This prestigious collection includes many well-known artists, and it’s such an honour to be a part of it.

You’ve exhibited your work internationally, from New York to Munich. How does your approach differ when preparing for solo exhibitions versus group exhibitions?

In group shows, you have limited control; the curator or art dealer installs the pieces and decides which works to include. With solo shows, however, I think more intentionally about how my work will interact with the space where it will be displayed. Since I’m always working in my studio, the gallerist often visits, and together we select the paintings for the show. We discuss which pieces work well in conversation with each other. When I know about a solo show well in advance, I also consider the sizes I want to paint and how they’ll function within that specific space.

Many prominent publications have reviewed your work over the years. How do you feel about the role of art criticism in your career and the reception of your paintings?

I generally enjoy reading reviews of my work, as they often offer insights that give me new perspectives to consider. It’s especially gratifying to read thoughtful criticism, such as John Yau’s reviews of my work. He is both articulate and insightful about painting, and he can explain my work far better than I ever could.

Your work is featured in both private and public collections, including the Dallas Museum of Art and The Jewish Museum. What do you hope viewers take away from your paintings when they see them in these different contexts?

First, it’s an honour to be included in these permanent collections. I hope my work captures the viewer’s eye, drawing them in to look, connect, reflect, and perhaps experience a bit of joy. The Dallas Museum holds an earlier work compared to the piece at The Jewish Museum, but both are part of their contemporary collections, so the contexts are similar. My hope is that these works resonate with viewers about our present world and remain relevant for generations to come.

EDITOR’S HIGHLIGHTS