Peter Wileman

Riviera Dreams II by Peter Wileman
Riviera Dreams I by Peter Wileman
Venetian Way I by Peter Wileman
Venetian Way II by Peter Wileman
Venetian Nights III by Peter Wileman
The Rising Sun Glids The Eastern Sands by Peter Wileman
The Golden Light Of A Tranquil Dawn Steals In From The Awakening East by Peter Wileman
Dusk Heralds The Splendour Of An Ended Day Exalting The Soul To Heavenley Musing by Peter Wileman
Above The Soft Sweep Of The Peaceful Sky The Heavens Blaze With A Celestial Brightness by Peter Wileman
Shadows Of Approaching Night by Peter Wileman
Radiant Skies by Peter Wileman
Daybreak by Peter Wileman
Reflections Of Venice I by Peter Wileman
Reflections Of Venice II by Peter Wileman
Celebrated contemporary abstract, still life and figurative artist, Peter Wileman PPROI RSMA EAGMA FRSA has (as you can see) got rather a lot of letters of the alphabet after his name. Which usually means the recipient A) has completed a lot of study/gained much qualification (and is therefore considered pretty learned) or B) has purchased a collection of impressive yet incomprehensible letters offa of the internet. Well, we can assure you that in the hugely popular/artistically gifted case of Wileman, it’s DEFINITELY the former, who’s made something of a habit of collating many accolades and honours during his esteemed and successful professional painting career.
Born in Middlesex in 1946, Wileman showed a keen interest and duly noted turn of creative hand from an early age, leaving few of his nearest and dearest in any doubt that he’d ultimately end up serving an artistic industry in one capacity or another. He was THAT good. On completing his secondary schooling Wileman gained meaningful employment with a card publishing company, where he focused his attentions toward and subsequently specialised in, lettering and design. There followed – and as his promising career panned out – stints as the art editor on a number of published titles/periodicals, as he forged ahead with his 9 to 5. That of course wasn’t the whole story though, as all the time Wileman was pulling himself further up that publishing industry career ladder he was originating and amassing his own brand of art behind the scenes. His natural gift for painting, coupled with his now more than useful volume of first hand, commercially-savvy art and design experience would stand him in perfect stead for the next chapter in Wileman’s life and times. Or rather, the pages we’re most interested in for obvious reasons. Yup, he announced his intentions to turn freelance, which Wileman hoped would afford him the time and freedom (and free from corporate restraints) to develop and ultimately evolve art work that was of far greater bearing and personal resonance to him as an individual.
So just what is Wileman’s creative style for which he’s grown himself an enviable reputation amongst the contemporary fine art community, far and wide since deciding to go it alone. Light. Light and how it’s cast both naturally and superficially, and moreover how subjects interact with its presence are key to Wileman’s compositional back catalogue. Although he admits it’s hardly a new element and indeed one which motivates most practising artisans to ply their visual trades, yet it’s found at the fulcrum, the very epicentre of Wileman’s rudimental creative mantra and art world. According to Wileman there’s one thing acknowledging its significance and another cementing its graphic profitability on canvas in a way that makes all the difference to an individual piece. Wileman insists that; “Light can be as elusive as a wisp of smoke as we try to capture it in all its many moods. My brush is never still”.
But then the more we learn about Wileman the more we discover that this is no ordinary exponent of the contemporary arts, but more an advocate and great advert for someone who gives his all to his genre and his calling in life per se. especially highlighted when he stresses that; “For me, painting is as much a part of the day as eating and sleeping. In fact, it’s more important than that, more like breathing!” To Wileman’s educated and knowledge-hungry mind, a day is wasted if it doesn’t involve at some point the discussion/reading about art of the actual, physical and emotional act of the creative activity itself. Returning to the issue of light, and a topic that evidently couldn’t be further up Wileman’s daily artistic agenda, and he compares the way in which a painter is drawn to light much in the same way a moth is to a flame. Only without the end game, obviously. And whilst Wileman confirms that he’s tried to convey so many different forms and functions to his compositions, historically, time and time again his path of acceptance has led to him demanding that often elusive quality and depth of light in his hallmark pieces. Be it cast as a crucial part of a shimmering sunset, dawn of a new day or the dazzling sparkle of reflection off both sea and river, it’s a light that he’s forever drawn to.
Putting the light to one side for a moment, and Wileman’s work is typified by a seemingly unrelenting vibrant and vivacious style, in relation to approach to his compositions and execution, courtesy of his exemplary use of colour and the manner in which he manipulates the paint to his advantage, as he strives to explore and dovetail that hard to pin down effect of light on his favoured subject matters. Hunting down atmosphere as a by-product of his light and colour virtues, Wileman’s finished pictorial articles tend to promote several degrees of abstraction which more than ensure his paintings stand out in a sometimes crowded genre market place.
To date, Wileman’s work has been showcased at numerous exhibitions, included amongst which have been the Royal Society of Marine Artists, the New English Art Club and the Royal Institute of Oil Painters, of which he is now President, whilst his individual pieces and collections have been recognised with various awards which we hinted at in the intro. Not an exhaustive list by any accounts, yet compiled amid others you’ll find that Wileman has previously won the Frank Herring award in 2000 and the Cornelissen Prize in 2003, for outstanding work. In addition to this Wileman was awarded 'The Clerc Fowle' gold medal in 2006 for the most outstanding group of paintings, while a year on he scooped the DAS Prize at the Mall Galleries, London in recognition for a work of distinction. In 2010 Wileman was at it again, this time bagging The Charles Pears Award and The Stanley Grimm Prize, followed up by being the recipient of The Dartington Crystal Chalice in 2012.
Having worked in the field of art and design for in excess of four decades now, his works can today be found hanging pride of place in a variety of private collections worldwide, and you may be also interested to learn that some have been shown on television too. What’s more, Wileman uniquely crafted illustrative views of Venice are currently in the 'floating gallery' on the new P&O Liner, 'The Ventura.' And then there’s Wileman’s publications and DVDs, which currently comprise of the 2011 Anova publication, ‘Painting Light in Oils’ along with the (2008 and 2010 respectively) DVD releases, ‘Painting the Light in Oils’ and ‘Inspirational Oil Landscapes’ brought to us in association with Townhouse Films.

View All Art Works By Peter Wileman