'Peter Clossick focuses on faces, the single gure, men and women, the nature of physical sensuousness itself. The models are still, seated or lying; their eyes cast down or even blanked out, while the composition is enlivened by the physical act of perception. His is the moving and heuristic gaze, the act of discovering the world through the exploration of possibilities. “It’s about transformation in every session. Shall I keep something? Shall I push it forward to gain something and lose something else? There is always a multitude of directions in which one can go. But you have to make decisions to reduce the possibilities,” he says. Clossick’s ideas change in the process of working and experimentation on the canvas, opening up a more imaginative world. He revels in exciting and unlimited possibilities, the freedoms and attendant risks which are open to the artist. He wants to capture a sense of relationship between himself and the subject rather than describing the external appearance, the edge of things. It is a two-way interaction which is not from outside looking in or inside looking out, but meeting in the middle. This is never a simple description of the outer skin of things, but rather a multi-layered, multi-toned articulation of physical realities. Perhaps in uenced by his training at the Camberwell School of Art, the starting point remains the close observation of the living body through drawing. Clossick incorporates uncertainty, multiple moments and probability into his nudes and portraits through a protracted process, involving incessant drawing with pen and ink, oil stick and eventually paint. His thickly encrusted surfaces can take years to dry out. But he also enjoys the thrill of working with great speed and infectious impetuosity.'