Piece description from the artist
In the painting Blue Bird #431, the artist Peter Ivanoff both relates an experience and honors a bluebird. For Ivanoff, the tomb stoned shaped white road with the blue egg perched on top speaks of re-birth and hope.
While on a walk in the spring of 2019 in the Napa Valley, the artist witnessed a pair of blue birds frolicking and chasing each other as mating blue birds do.
As they flew across a road, the birds were largely unaware of a truck fast approaching. The truck slammed into them knocking both to the ground in the middle of the road.
The artist rushed over to them and noticed that one was dead, but the other was still alive but struggling to fly. Subsequently Ivanoff, put the lone survivor in a shoe box and drove it to a wild bird sanctuary some 20 miles away in Santa Rosa, CA.
It was discovered that the bird, now named Bluebird #431 was a female, had a broken wing but had a good chance to recover and be returned to where it was found. Over a month later, and lots of inquiries, Bluebird #431 became one small success story.
It is the hope she finds another mate and lays lots of eggs.
Peter Ivanoff spent most of his professional life, initially as an art director in advertising, then as a concept artist and designer
for advertising and marketing. In addition to making a living as a commercial artist,
throughout his career he has maintained a studio practice.
As a architecture student he was introduced to painting by the artist Gilbert Steed, (a color consultant for Bocour paints and a student of Hans Hoffman). He studied and was introduced to European Modernism by the photographer and painter, John Guttman, (a student of Otto Mueller) at SFSU. He also studied Life Drawing and Anatomy at the Art Student's League.
He earned his B.A. from SSU and an M.F.A from MICA (a highlight of which was his association with the late Salvatore Scarpitta). Currently, he lives and works in Palo Alto, CA.
A native of Wales, California-based artist Peter Ivanoff’s sculpture is all about going places. Crutches, ladders, plumbing fixtures, discarded furniture, and wheels deliver the message in his objects and installations. Driving this narrative, Ivanoff’s interest is in
our relationship with technology.
After the recent and ongoing wildfires, political turmoil and other disasters, his recent drawings, collages, and paintings have taken on an environmental and political shift. In these troubled times Ivanoff is presenting a much darker impression of California than for example, the artists David Hockney or Wayne Thiebaud.
Ivanoff’s techniques are purposely simple; collages are black India ink cut-outs
on Bristol and the paintings and works on paper are painted in acrylic.
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