Peter Colquitt Information

Working Methods and Materials

Clay has always been my favourite material, it is so flexible to work with. I prefer to work with a clay body called Crank, it has a coarse texture which works well with oxides, these are applied before the clay is fired.

The method of construction Is invariably by coiling, modelling and working the surface with textures is strongly allied to the drawing process which has always formed the base of my working approach. Often I take the same subject or theme and constantly rework it through drawing into Prints.

In recent years I have taken to reworking the Lino Blocks, treating them as sculptural reliefs by recutting and applying colour to the surface.

Biographical Details

Education: Prior to art school my education was very mixed, this was mainly due to the war, it ranged from a Welsh village, to Liverpool and then to a Catholic school in Nuneaton amongst others. Like many my education began when I entered Art School. It was here I came into contact with a series of remarkable teachers. Alan Rochford was undoubtedly the most influential. He gave all of us a breadth of experiences both in the school and out, with visits to galleries, the theatre, films, music, opera, and ballet added to this there was the rich programme of activity within the school under the direction of Edward Hellawell.


Other Teaching

Exhibitions 2007-08

Work shown in France 2007-08

Exhibitions in the UK

Galleries holding work

Exhibitions 2010

Galanthus Gallery, Wormbridge, Herefordshire HR2 9DH
T: 01981 570506    E:

January 16th - February 28th 2010
Exhibition of Lino Prints and original Pen and Ink Drawings

The series of drawings with Pen and Ink are my response to the landscape which surrounds our favourite place.  The landscape in and around St Felix in the Charente region of France is constantly changing.  During the times we have visited this area it has gone from very small fields to massive prairies.  The only unchanged element are the woodlands - these retain exciting visual imagery to work with.  

Drawing has always been a fundamental element of my work - this aspect of most Artists activities seems to go unrecognized.