View in a room
J.Y.M. Frank Auerbach's main model from 1963 onwards – painted from life in the early mid-90s.
At first sight Peter Clossick's portraits and single figures, empirically observed and set down in thick impasto paint, would seem to belong firmly in that Bomberg and Euston Road tradition that runs through Auerbach, Kossoff and Lucien Freud even, their almost sculptural use of paint an equivalence of matter set against the physical realities of the people and rooms depicted - “the spirit in the mass” that Bomberg so urgently sought. Clossick then takes the whole thing a stage further, as in this powerful, reflective portrait of Joan Yardley Mills, where he succeeds in giving to her image a powerful sense of the inward as well, so that they come to possess what, as the critic Corinna Lotz has acutely observed, feels like “an otherworldly awareness of the transience of things.”Nicholas Usherwood, Features Editor of Galleries Magazine