Piece description from the artist
The artist Peter Ivanoff’s work can be placed historically in a figurative tradition.
That said, his interest in the figure has evolved and manifested itself in a few different directions. One of which is the artist’s interest in how in contemporary society we perceive and visually represent the human form.
During the recent Pandemic while walking his neighborhood, he began to pay attention to the many stylized representations of human figures on warning signs. Abstract, simplified, sometimes even missing hands and feet- in a manner, de-humanized- he wondered is this is how we see ourselves?
The artist often seeks inspiration from art history, in this case the iconic Minoan mural at the palace at Knossos. The collage Diver central is a sole figure appropriated from a pool “No-diving” sign. However, in Ivanoff’s version there are no playful dolphins and other sea creatures frolicking in the ancient Mediterranean. In the work, the warning symbol is actually diving and, adding insult to injury, is surrounded by assorted detritus. The message is both funny and tragic.
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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