The Art of Peter Konsterlie

A Collection of Works

Restoration Museum Show

Contact:
(203) 556-6163
cynmid@yahoo.com

Purple Iris

Purple Iris

2016

Psychadelic Iris

Psychedelic Iris

2016

Trees

Trees

2016

Spin

Spin Art

2014

Start

Start

2016

Artwork 6

Garden Madonna

2010

Artwork 7

High Seas

2016

Artwork 8

Heart 2

2012

Artwork 9

Franken Furter (Elvis & the World)

2011

Artwork 10

Merten

2017

Untitled Abstract

Untitled Abstract

2012

Sandy Flower

Sandy Flower

2013

Edgar Allen Poe

Edgar Allen Poe

2013

Fun Flower

Fun Flower

2013

About the Artist

Artist Profile Picture

Peter Konsterlie (1963-2018) was an award-winning artist with over twenty-five years of experience in all areas of Fine Art, Design, Film, and Video Production. Graduating from the Minneapolis College of Art and Design, he became an accomplished painter, with exhibitions that included The Aldrich Contemporary Museum, Minneapolis Institute of Art, The Plains Art Museum, Carnegie Mellon in Washington D.C., Westport Art Center, Sacred Heart University, and the Sarah Bowen Gallery in Williamsburg New York. Konsterlie’s works are featured in numerous public and private collections including Disney Studios, Guthrie Theater, Mighty Ducks Features, Mall of America, Minnesota State Fair, and the P.T. Barnum Museum. His community efforts included Altered Book Auction for the Westport library, NUTUREart, Art for Haiti, Aids Awareness Auction, Green Chimneys, Aids Benefit, Kids with Disabilities, Children Defense Fund, Beat the Odds, and Charles Schultz Tribute for 9/11 heroes. Peter was a professor of art history at the University of Bridgeport’s Shintaro Akatsu School of Design (SASD) and the director for the Schelfhaudt gallery at the University curating many remarkable shows.

Artist Statement
Drips of paint and spray painted patterns become a structure for images to bleed through and meld with; tag sale items and other discards are employed. Growing up I loved artists who relied on assemblage as their way of creating. Now I feel the days of Rauschenberg are over. I’m interested in creating a “whole” painting, not a composition of parts. I believe pattern can build structure and repeating patterns hold power. Dots are a reference to Lichtenstein but also celebrate the difference between automatic marks and gestural brushwork. Lately I’ve considered how line and color are distinct devices – having always believed color informs shape, now I see color as a different expressive avenue, an element discrete from line. Color embodies a gestural approach in my line work, and an analytical mark in painting. My drips are the painting’s aspect and color introduce a pattern.