I woke in a spacious room with lavenderwallpaper and brocaded, antique drapes. Therewere clothes laid out for me on a faintingcouch. They fit as if they had been tailoredfor me. As I descended the staircase, I hadno idea what to expect. A maid showed me tothe breakfast room and brought me coffee andbiscuits. I stared out the window at the gardens.After a while, a man entered the room and askedme if I had everything I needed. "Oh yes," Isaid, "everything is lovely." ''Do you haveany questions?" he asked me. "No," I said.“Later, Gwen and I will show you around thegrounds,” he said. "I look forward to that,”I said. Then he left me there all alone. Gwendolyn.It's strange how one knows nothing, and, yet,knows more than one wants to know. I knew thatI would fall in love with Gwendolyn. I knewthat there would be a duel. I knew that thisgraceful mansion would burn to the ground. Isat there waiting, incredibly lonesome with myawful knowledge. [1]—James Tate, “The Fragrant Cloud”
BLUM is pleased to announce Reality Show, Bloomington, Indiana-based artist Peter Shear's first solo exhibition with the gallery.
Utilizing the art of suggestion, Shear loosely renders recognizable forms in distinctive palettes to create paintings that trigger open-ended recognition in their viewers. Drawing inspiration from a range of topics as disparate as the internet is vast, Shear intakes a large quantity of visual information—a single painting may, for instance, be influenced by the oeuvre of Dutch Golden Age painter Judith Leyster, an image of several neatly arranged green Adidas Sambas, a drawing by contemporary British artist David Shrigley, and a news headline that reads “Where’s Princess Kate?” The resulting works broadly deploy intuitively familiar aesthetics to underscore our universally shared connection to the collective unconscious.
With compositions that alternate between pure abstraction and representational elements, Shear avoids stylistic categorization, instead preferring to respond to and channel the whims of his materials. Activating an interest in the artifice of painting, Shear cross-pollinates devices that span the medium—diffusing mountain-like crests into the prongs of gestural brushstrokes in Land (2023) or playing with depth perception as created by shading a geometric abstraction in Double Sided (2024). By resisting the traditional schools of painting, Shear makes room for a viewer to situate his work amongst any number of subjective things or ideas.
Taking this prompt for individualized interpretation one step further, Shear states that his paintings are meant to encourage viewers to “finish the sentence.” In other words, the intention of each work has been left open-ended in a generous gesture that allows space for personal associations and experiences. In this way, the connection formed between individual and painting is the work’s purpose—each canvas or panel is otherwise left open and free of determination until the next psyche sets out to explore it.
In a post-internet era, Carl Jung’s collective unconscious has materialized in Instagram—this platform has become the well from which much of the population draws their imagery and information. Shear’s work is informed by the manner in which social media impacts our absorption of news. “I think the way that my paintings cycle in and out of themes or argue with each other mimics the Instagram environment—you’re seeing, for instance, a Rothko next to Hypebeast sneakers. The mind tells a story about that, and I’m interested in how people put things together.”
Peter Shear (b.1980, Beverly Farms, MA) lives and works in Bloomington, IN, and has shown his work across the United States and internationally. Recently, his work was the subject of the solo exhibition Time Stamp at Herron School of Art + Design, Indiana University, Indianapolis, IN (2019). Group exhibitions include The Feminine In Abstract Painting, The Milton Resnick and Pat Passlof Foundation, New York, NY (2023); A Wild Note of Longing: Albert Pinkham Ryder and a Century of American Art, New Bedford Whaling Museum, New Bedford, MA (2021); Locus Focus: Peter Shear and Arvind Sundararajan, 840 Gallery, University of Cincinnati, OH (2018); and Basic Instinct, Peter Shear and Ellen Siebers, FJORD, Philadelphia, PA (2016).
[1] James Tate, “The Fragrant Cloud,” in Return to the City of White Donkeys: Poems, (New York: Ecco Press, 2005), courtesy of Estate of James Tate.
