Gallery on Greene Presents Peter Vey Opening Reception

ike the wind that blows up suddenly, Vey’s embrace of color, freewheeling palate knife strokes, frequent distortions of space, and intensifications of motion established him as a leader of American tropic painters. He made his debut 23 years ago at the Gallery on Greene.  Vey has become the most successful painter in The Florida Keys.

His buoyant qualities and seemingly constant state of joy are palpable and irresistible to most critics, gallerist, fellow artists & collectors.

The variety of techniques in his portfolio have constantly evolved, gleaned from studying the work of Hopper, Homer, Bellows, Albers, Hoffman and Courbet and others on his own after completing an Art History degree at Duke.

Vey’s works of The Florida Keys, Cuba, Paris, New York City and other places he visits are emotionally compelling and arresting.

Memories of Ballast Key is a pivotal work in the exhibit.  This depiction of the shores of the only inhabited island in the Great White Heron Reserve has been a constant source of inspiration for Peter Vey.  Using only one tool, an artist’s mixing knife, he coaxes paint to yield both the finest of lines and flat expanses of pure hue. He begins by making a loose sketch, to nail down the composition, and then builds up a picture area by area, much like the Renaissance fresco painters

Up  Close and Beautiful is a portrait of Key West in wood and chunky, vibrant paint.  Shadows and brilliant sunlight highlight the traditional Key West historic home’s gingerbread and stately lines.  Although Vey has painted much of the incomparable architecture of Key West,  his  love of the spontaneity makes his realist work so strikingly fresh.

Snowy Madison Square Park elicits New York’s resplendent architecture and quiet spaces.

Vey, who is as laid-back and upbeat as his paintings, has an easy but apt response: “There’s plenty of art that throws you into an introspective tailspin,” he says. “I like to celebrate life. That’s important to me.

Like the wind that blows up suddenly, Vey’s embrace of color, freewheeling palate knife strokes, frequent distortions of space, and intensifications of motion established him as a leader of American tropic painters. He made his debut 23 years ago at the Gallery on Greene.  Vey has become the most successful painter in The Florida Keys.

His buoyant qualities and seemingly constant state of joy are palpable and irresistible to most critics, gallerist, fellow artists & collectors.

The variety of techniques in his portfolio have constantly evolved, gleaned from studying the work of Hopper, Homer, Bellows, Albers, Hoffman and Courbet and others on his own after completing an Art History degree at Duke.

Vey’s works of The Florida Keys, Cuba, Paris, New York City and other places he visits are emotionally compelling and arresting.

Memories of Ballast Key is a pivotal work in the exhibit.  This depiction of the shores of the only inhabited island in the Great White Heron Reserve has been a constant source of inspiration for Peter Vey.  Using only one tool, an artist’s mixing knife, he coaxes paint to yield both the finest of lines and flat expanses of pure hue. He begins by making a loose sketch, to nail down the composition, and then builds up a picture area by area, much like the Renaissance fresco painters

Up  Close and Beautiful is a portrait of Key West in wood and chunky, vibrant paint.  Shadows and brilliant sunlight highlight the traditional Key West historic home’s gingerbread and stately lines.  Although Vey has painted much of the incomparable architecture of Key West,  his  love of the spontaneity makes his realist work so strikingly fresh.

Snowy Madison Square Park elicits New York’s resplendent architecture and quiet spaces.

Vey, who is as laid-back and upbeat as his paintings, has an easy but apt response: “There’s plenty of art that throws you into an introspective tailspin,” he says. “I like to celebrate life. That’s important to me.”

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