In the early nineties Peter Gric started to discover the possibilities of computer graphics for his paintings. From then on his organic-surreal visual imagery was enriched by complex architectural structures and artefacts. In place of using pencil and sketchbook he began to design his compositions with a 3D visualization software, he started to transfer the virtual reality into painting and consequently found within this fusion to his very unique and distinctive stile.

This method is most obvious in his “Artificial Spaces” series. These paintings are based on three-dimensional geometries built with something like a “virtual building block system” or other mathematical and algorithmic concepts. The creation of these images becomes a play with complex spaces and perspectives in order to create normally non-accessible places in a completely artificial arrangement of space and light. By translating these virtual concepts into paint, Gric attempts to enter into those artificial spaces, and render them tactile. He seeks to give form and substance, bringing them out of their virtual state to a substantial manifestation.

In addition to his Artificial Spaces Gric also experiments with the human nude combined with mineral, technoid and architectural structures. Despite the fact, that the bodies of this “Mnemosyne” series are often dissolved and fragmented, he wittingly obtains or even emphasizes the erotic component. In this series his phantastic and surreal origin is most apparent.

“Synchronisation 2” – Acrylic on fiberboard
 – 70 x 60 cm – £POA
“Medusa Experiment” – Acrylic on fiberboard – 
25 x 50 cm – £POA
“Gynoid-Monument”  – Acrylic on fiberboard – 
40 x 32 cm – £POA
“Gynoid 8” – Acrylic on fiberboard
 – 40 x 32 cm – £POA
“Gynoid 5 (Failure)” – Acrylic on fiberboard
 – 30 x 50 cm – £POA
Android III – Acrylic on fiberboard – 
32 x 40 cm – £POA