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Interview with Peri Schwartz from The Artful Mind, July 2007
“Schwartz’s Wrapped Objects are surprisingly present to contemporary eyes lately conditioned by exposure to the ubiquitous overdraped Afghani image type, a conditioning that ultimately facilitates viewer response to these drawings. The subject is present beneath the drapery, but its individual shape and character-clues to its identity are conveyed only through the push and pull, the tightness or laxness, of the intricate surface wrap. and in the process the surface wrap gains its own freestanding vitality and identity.”
“The conflict of realism and abstraction reigns supreme in her work, with credible comparisons to Giacometti forms evident in her series of self portraits.Through interaction between her subject and a grid, she explores angles and intersections that allow her to find the exact arrangement and layout of her models to please her instincts.”
“Woman Seated II, by Peri Schwartz, is clearly grounded in representation, not only of the physical subject but her insides, elegant, beautifully composed, painted as if every stroke had meaning, color of late afternoons and lost loves, not only the look of the subject, though far from portraiture, but the feel. Easily the best piece of art in the show.”
“Peri Schwartz's Studio Self-Portrait is a big strong painting in a venerable tradition, and it blends loosely brushed realism with a subtle dose of geometric abstraction to structure a work rich in form and content.”
“The dictum “less is more” applies to the lean contours and reductive palette of Peri Schwartz' fine portrait, Woman in White Shirt, winner of the Grumbacher Award. Her slim limbs and chiseled features are constructed from planes of creamy beige and shadows of slate blue , and she sits erect in a straight-backed, ebony chair that frames her angular, Giacometti form. The architectonic character of the oil is enhanced by the vestiges of a grid that remains around her head and shoulder.”
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