Peter Bright - Artist's Statements are Random Texts - How many identities do you have?

Peter Bright

audio Peter Bright - BBC Radio 30th September 2005 Finish The Story - Friday Session interview . (2 mins 42 secs. Realplayer.)

Peter Bright - Artist Statement (these snippets could be mine)

Words taken out of context lose their meaning. Publishing documents that contain controversial language puts the author at risk. Any constructed environment can promote alienation, but it can also enhance communication to form a quasi-organic platform for human interaction. The fact that most of us have an on-line persona suggests that computer communication enables us to visit places and have discussions with people we would normally avoid. We are engaging in the pseudo-anonymous system/society. Underground activities have migrated out of analog media (the printed word, film etc.) into 'this world'. This world has evolved into a global system with multiple layers in which new authorities compete to control its uses; platform wars, chip races, and operating system alliances. The pseudo-identity of the user is being exposed; law is punishing non-conformity, censorship and the rules of globalization have invaded the system. The Klondike Spirit has taken over the open system and turned it into the homogenized high street we all know.

(A non-homogeneous system, whose terms and relationships are not constant, allows language to break up, to stumble over the rules of its grammar, by necessity it has to respond radically to other linguistic components, creating a new linguistic order and syntax. )

My career has been split into two camps - Art & Business. I am a graduate from Exeter College of Art and Design ( I have also studied at Wolverhampton and Bristol Universities) and have exhibited (paintings and prints) and performed music. I am also a successful businessman. The dichotomy created by these two diverse vocations (Art & Business)split me in two: as an artist/musician I had great difficulty in adapting to conventional business practices - it was too structured, prescriptive and extremely dull. I then began to look at my business as a 'work of art' and adapted art methodologies to fit the business scenario. I began to 'think into the box' and my maverick attitude proved successful in turning a floundering business into a formidable enterprise and my position and integrity as an artist/musician remained intact.


'Often artists' groups have a core of members who initiate activities and support the rest of the group.' Not only is it important to support new groups, it is important for these founding members to fully understand the structures and reasons for creating new groups. They must be asked 'Why are you doing this?' and 'Are there other groups around that already fulfill your needs and aims?' Creating new artist groups/collectives could be counterproductive and create an even more fragmented environment. It is important that a robust armature is created for a network to succeed. If this is achieved then it would be a formidable and powerful organization. My skills are at the ‘start up’ phase of businesses and organizations, where the creativity of the entrepreneur or group is at its most inventive and vulnerable. I find the energy that is created very infectious but I know that this enthusiasm gradually dies and needs ‘mothering’ to take it to the next growth phase. To achieve sustainability is key, and I have wide and varied experience of achieving this both in a traditional business environment and in pioneering innovations.

A mentoring scheme which enables artists and crafts people to access strategies and processes needed to create successful art and business practice would be highly beneficial to individuals and groups.

Allergies - The Queen's Theatre Barnstaple N.Devon
Bonsai for Asthmatics
Open Exhibition at The Burton Art Gallery
Burton Art Gallery - Peter Bright
Westward Ho! and Bideford Art Society
Capitalism = Terrorism
Contact Details
Exhibit Entry
The use of Metaphor
Work June to October 2002
Mass Production and The New Jesus and Mary

The Genetics of Painting?
There are various ways of making Paintings to recipes, each becoming a question of process and discovery, controlling chance, arranging colour with simple brush strokes, dragging or pouring paint across the surface to reveal a vast range range of effects. The act of painting can be reduced to its most simple and material elements, new materials can be discovered and played with......Is this really painting?..... what is the process/purpose of the creation? Behind the rheteoric and bullshit there must be a reason....otherwise YCRE8.


Site Under Construction

The Quest For The Perfect Colour

Producing the perfect specimen,with the perfect colour


I discovered a book 'Exhibition & Pet Mice' by Tony Cooke L.R.I.C and was fascinated by the concept of using genetics to produce colour. A Frankenstein urge to tamper with genes and create truly living colours. Click here for brief bibliography and my source material

The first step was to purchase the best raw material for my palette. A gentleman in Brighouse, Yorkshire had a mousery full of excellent breeding stock. I purchased the finest trio he had available. (These were Chocolate and Tans. C/T's contain genes, which allow you to create different varieties, however I had to search high and low for the specific gene I required to create a specimen that would become a 'Breed Champion'.)

Within a few months I had produced a good strain of mice which were healthy and of a good size. I then began taking them to shows were they were judged, 'under the strictest rules laid down by the National Mouse Club'. I was slowly accepted into this community.


1/ To reach a high status within this group of people.
2/ To question and explore their motivation.
3/ To study their class structure.
2/ To win a breed cup.

The Variety to Win the Breed Cup


The proof of my success

I was tempted to try and produce a tri-coloured mouse (This is genetically impossible). However I settled on a Satin Sable, a type developed by Walter Maxey in the 1880's. A difficult colour prone to obesity and death (see text below on the red gene). I found the 'Satin' gene in Shropshire and acquired a pathetic example that I crossed into my pedigree stock. After several failures with my experiments and selective breeding I eventually produced the beast that won the Sable Cup in July 1987.


Section on basic colour varieties and how to breed them.


Their features and body confirmation have to be of a certain type. All examples that do not meet these criteria have to be destroyed, to prevent them contaminating the pure blood line.


Section on Fatal genetics...obese gene... waltzing gene. Double lethal gene

The comitee members discovered I was an Artist and asked me to become the cartoonist for the 'National Mouse Club News' this I did and created 'The Diary of a Thinking Mouse'. This modest position within the organisation enabled me to observe the heirachy and social structure of this group. I was never socially accepted and was treated as an outsider. The majority of the people I came into contact with were from the North of England or the poorer suburbs of London. They were Council Workers, caretakers, labourers and retired people. As a group it would be safe to describe them as, mainly 'Working Class' and as is typical with this this class of society, they were extremely dull of mind and poorly educated.

Walter Maxey
Father of the Fancy





North Devon Arts - 7th Annual exhibition
Recent Work - Peter Bright
Allergies - Fish
Independent Arts"-Festival No. 16
Capitalism = Terrorism
Dear David,
Is This Really Painting - -

Final Proposal - March 2003
Organic & Sythetic
Cuban Heroes
MA in Art?
Mavericks & Mothers
Peter Bright
MA in Art & Design Network:


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