About Peter Moss
My practice falls into three broad and often interchangeable categories: decorative surfaces, sculpture, and architectural works.
The present decorative surfaces, after the expressionistic mark-making of earlier years, have gradually become more restrained and understated as I strive for harmony and balance from ever-changing combinations of colour, pattern and form. Certain of my forms, the flat-faced series for instance, reappear often, essentially because they offer the largest surface area on which to work, but I also continue to work on an assortment of other shapes. These include easily recognisable forms of dishes and bowls related to domestic ware through to vases I have devised in response to specific design problems.
My sculptural work, for the most part, share similar concerns and I remain wary of drawing too many distinctions between these two branches of my oeuvre. In other words, these sculptures often make liberal use of materials and methods that I first experienced when training as a potter.
My architectural works often bring me close to other members of society, including architects, teachers, students, and schoolchildren. I realise that these collaborations might in fact offer a salve to the artistic introspection of my decorative and sculptural works and seem to revel in the idea of architecture as a communal activity.
Now that I am in my 75th year, I consider that I still retain a vital source of energy, experience, expertise and enthusiasm which allow me to continue exploring the endless possibilities of materials and methods I use in my own practice.
In response to galleries, clients and fellow artists, I insist that I am still learning, still growing in competence, and still extending a ceramic vocabulary in pursuit of my own artistic language.
I count myself fortunate to have experienced such a major period of change in art school teaching and to have encountered, and been encouraged by, such influential artists and mentors.