Peter Roux is a painter whose work has been exhibited in solo and group exhibitions at galleries and museums across the United States and internationally, including New York, Atlanta, and Melbourne, Australia. His work is held in corporate collections including the US Department of State, Fidelity Investments, Biogen-Idec, and the Four Seasons, Ritz-Carlton, and Marriott hotel groups, among others, and is represented in the permanent collection of the DeCordova Museum in Lincoln, Massachusetts. In 2013, he was awarded a residency at the BAER Art Center in Hofsos, Iceland, and his work has been featured in two juried publications from Open Studios Press: New American Paintings and Studio Visit Magazine.
Driven by questions of juxtaposition—of things to other things, of images to lived experience, of the self to the world it occupies—Roux's practice uses landscape as an entry point. Sky, water, and place serve not only as subjects, but as lenses through which to examine how perception itself is shaped. We move through the world saturated by a constant stream of predetermined images, and this visual language quietly conditions how we see everything around us. His work sits at the intersection of what we see and how we see it.
Central to this inquiry is an interest in the editorial nature of image-making; the endless decisions of scale, proportion, edge, and duration that shape narrative and guide the viewer's experience. These choices function like language, each one carrying meaning and inviting response. In recent years, this investigation has expanded beyond the flat picture plane into three-dimensional space, with work that pushes into columns and cubes. If images are windows, the shape of the window itself, its height, its narrowness, its proportion, becomes as meaningful as the view it frames.
All images are, at their core, substances on surfaces: illusions, stand-ins, representations. The tension between illusory pictorial space and flatter, more abstract mark-making becomes a back-and-forth dialogue about the beautiful artifice of the image itself. This push and pull is not merely formal, it is philosophical, speaking to how meaning is constructed and how belief in an image is earned.
Running beneath all of this is a deep concern for the environment. These anxieties are not always the primary subject, but they are present, seeping in as metaphor, or surfacing directly. The natural world is not only an aesthetic source but an urgent one.
Art, ultimately, is a voice from a particular moment in time—a record of consciousness. Peter Roux's work is that record.