Published: 27 September 2017

London based painter Peter Clossick has a remarkable studio. Adjacent to his house, the space is a shotgun-style extension of the building with sketches and notes tacked to every available inch of wallspace. Tables, palettes, paints and mid-process artworks occupy the perimeter, while at the center of it all is a classical sculpture. The copy is female, gazing to her side and stood contrapposto.

Peter records and repositions this sculpture often, with a very recent result showing in this year's Autumn Exhibition in Thompson's London. What makes this particular impression of the sculpture stand out from the others, is Clossick's loud and vibrant palette.

Titled 'Tutti Frutti 2' and executed in a delightfully bountiful impasto, this painting is more than a mere moment of exuberance from the artist. Saturated as the palette may be, the core motivation behind this choice is almost paradoxically founded in discipline. Clossick has framed his approach through tone, tackling the challenge to communicate light and dark values through wild, jarring colours. 

Through squinted eyes, audiences can see the tonal accuracy showing through; however, the best way to see what Clossick has accomplished is through a monochrome photograph.