Peter Harris

For over two decades, this Peter Harris has transformed everyday cityscapes into compelling works of art. We discuss his creative process, the narrative power of empty spaces, and his ever-evolving perspective on the urban environment.

Your biography mentions a gradual transition from small-town living to the dense downtown core of Toronto. How has this change in environment shaped your artistic eye over the years?

I’ve always been influenced by, and take inspiration from my surroundings. Whenever I’ve changed towns or neighbourhoods, being surrounded by new things always gives me a chance to re-examine my approach. Living in the downtown core has me looking more at architectural spaces, interiors and the hard edges of the urban environment.

After 25 years of painting the urban landscape, what continues to fuel your fascination with the city as a subject?

I’m constantly meeting people who are fascinated and surprised by the spaces that I choose to paint. Knowing that there are more people out there who have never thought of their commute to work as an exploration of the urban Canadian landscape, or that the spaces they travel through are “art worthy” means I always have more subjects to paint, and more people to try and connect to their environment.

Your paintings are notable for the complete absence of human figures. What drives this aesthetic choice?

I really want the story to be about you, the viewer. When you look at my paintings, I want you to imagine being in that space alone and how you would feel there. If I put people in my paintings, then the narrative would revolve around their presence and motivation for being in the space. They are first-person paintings- just you and the space.

You paint parking lots, gas stations, and hallways. How do you manage to extract beauty from these often purely functional spaces?

I always think about spaces-especially the outdoor subjects, as being on a stage, like in a theatre. Through high contrast lighting at night, I can push parts of the scenario in to darkness, and bring other areas forward in to the light. This allows me to control what is seen and unseen, hiding elements that distract and highlight what I want to portray.

Do you work primarily from photographs you take yourself? What does the planning and production process of a painting look like?

I only work from photos I take myself. I take thousands of photos, often visiting a location multiple times to capture different lighting and compositions. After sifting through the photos, I’ll start to select and edit and refine the composition. I then draw the image into my canvas, typically with a tight one or 2 point perspective system, which allows me to refine the composition further. Once the drawing is complete, then I start to build up the sections of my oil on canvas paintings until I achieve the colour depth and textures and refinement that I’m after. All told, it’s usually a few months from the click of the shutter to the finished painting (with lots of time to let ideas percolate at each stage.)

How did the idea of placing a 'miniature' work of art within your own artwork come about? Is it intended as a homage, or does it carry a specific message?

It started when I was photographing a very banal industrial building, which had a giant painting of an Italian landscape in their lobby. The contrast of the dreamy art piece in those surroundings was fascinating and humorous. I decided to start placing my own artwork into the interior spaces I painted, and decided that I should “curate” the artwork to add a layer of meaning to my work- that started me adding the miniature historical Canadian landscapes, in order to contrast the contemporary architectural spaces…two competing versions of the Canadian landscape.

Which artist, contemporary or otherwise, inspires you the most?

Earlier this year I met two English painters in London, Ben Johnson and David Hepher, who both are at the top of their game and creating amazing work around architecture and the built environment.

Do you have any future projects you would like to share with us?

At the moment I’m obsessed with the New York transit system and their subways from the 1980’s still in use. I’m not sure where this series will lead me, but I’m excited about it!

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To learn and see more of Peter Harris work, visit his website and follow him on Instagram.