Portfolio > OIL PAINTINGS

The Prince
Oil on Canvas on Wood
8" X 11"
2013
"Scout" - a recent oil painting by Tobeimean Peter.
Oil on Canvas on Wood
8.25 X 11.25 inches
2011
$350
Part of the "Vision Series," of paintings by Tobeimean Peter.
Oil on Canvas on Wood
8.25 X 11.25 inches
2011
$350
Part of the "Vision Series," of paintings by Tobeimean Peter.
Oil on Canvas on Wood
8.25 X 11.25 inches
2011
$350
Flotilla
Oil
9" X 12"
2007
$135
Jellyfish Blues
Oil
9" X 12"
2007
$135
Nocturne II
Oil
9" X 12"
2007
$135
Fragment I
oil on canvas on very dense Signfoam
15.5"(w) X 21"(h) X 1.5"(d)
2007
$175
Fragment I -- Detail
Oil on canvas on very dense Signfoam
15.5"(w) X 21"(h) X 1.5"(d)
2007
$175
Fragment II
Oil on canvas on very dense Signfoam
9"(w) X 17"(h) X 2"(d)
2007
$175
Fragment III
Oil on canvas & dense Signfoam
12" X 16.5" X 1.5"
2007
$175
Fragment IV
Oil on canvas & dense Signfoam
9" X 22.5" X 1.5"
2007
Echo
Oil on Very Dense Sign-Foam.
10" X 13"
2006
$135
dark mother (version two)
Oil on Canvas
33"/43" X 33" X 6"
2006
dark mother (version two)
Oil on Canvas
33"/43" X 33" X 6"
2006
Spring
Oil on Canvas
30" X 36"
2009
Spring -- Detail
Oil on Canvas
2006
Kali by Night
Oil on Canvas
30" X 36"
2009
Voyager
Oil on Canvas
18" X 24"
2003
Sorceress
Oil on Canvas
30" X 36"
2009
Muse
Oil on Canvas
12" X 17"
2006
Nile Light
Oil on Canvas
30" X 36"
2009
Large impasto and a darkling gem
Oil on Canvas
36" X 45"
2010
Detail - Church of Satan
Oil on Canvas
2010
Sheryl the Witch
Oil on Canvas
36" X 30"
2005
The Continental Soldier
Oil on Canvas
30" X 36"
2009
September
Oil on Canvas
30" X 36"
2009
The Visitor
Oil on Canvas
16" X 20"
2005
$900
Study
Oil on Wood.
10" X 17"
2003
Trapezoid I
Oil on Canvas
34"/42" (w.) X 33" (h.)
2002
Trapezoid III
Oil on Canvas
34"/42" (w.) X 33" (h.)
2001
$4200
Trapezoid III -- Detail
Oil on Canvas
2001
Trapezoid IV
Oil on Canvas
34"/42" (w.) X 33" (h.)
2001

My work in the medium of oil paint is often abstract & based on musical harmonies and/or emotional evocations. I tend to utilize painter's knives, and a variety of other tools and techniques around and with very thick impasto.

The overall surface is important, but each is an attempt to convey an emotional 'setting.' The topographical features are I guess, meant as signposts to a more 'concrete' reality. There is a definite intent to penetrate personal internal/visual mysteries here, but as with most expressionist conveyance, the overall strategy is to evoke an evolving dialog between the work and the individual viewer.

The titles are a necessary and sometimes amusing attachment to the works, but should not be taken with any sense of strict confinement upon your imagination -- rather consider them springboards with which to enter viewing the works, then discard them as your own dragons begin to race. The long and short of it is: there is no single pat answer as to what the content of any of these images is intended to be. They are constructed as philtres to stimulate the imagination of others, and as evidence of the workings of my own.