Peter Ashton Jones Floorr Artist Interviews

 


"I’m in the studio almost every day, and usually begin the day with two to three hours of thinking, almost as if I’m finding or retracing my way back into a painting.."























 








You were recently in a group show called "Part II: The Turning World" Curated by Zavier Ellis at CHARLIE SMITH LONDON. Could you tell us about that show?
The show was a three-person show about contemporary landscape painting and included Barry Thompson, Sam Douglas and myself obviously. Zavier Ellis, the Director of Charlie Smith Gallery, came to my studio a while back, just for a nose I think, and I have a vague idea that, although landscape is just one genre I use, (constitutes about a quarter of what I make), the show may have evolved as a result of a conversation we had about a group of landscapes that I had made or that were on the go, something about a tension between a fiction and a realism dichotomy - finding ‘a realism’ through ‘a fiction’. I think Zavier expanded and layered this idea and curated the whole thing, and presented three painters that occupy three very different and distinct positions with regard to landscape painting, and for me, the show did aim to constitute something of a tension between fiction and realism.



























Could you tell us a bit about yourself? How long have you been a practising artist and where did you study?
I studied at Kingston University in the mid eighties and have been painting since then. I’ve also worked as a curator, mainly for independent project spaces, and I have written about painting. I founded Turps Banana with Marcus Harvey in 2005 (although I left three years ago), and I also founded the painting gallery The Lion and Lamb (which closed three years ago).








































































































"Part II: The Turning World", CHARLIE SMITH LONDON 2017






























































































The Hand Glider, 2017






























































































The Passage, 2012






























































































'milo's muzzle' 2011

















Tell us a bit about how you spend your day/studio routine? What is your studio like?
I’m in the studio almost every day, and usually begin the day with two to three hours of thinking, almost as if I’m f