"As a kid I quite fancied the romantic, Bohemian idea of being an artist. I expect I thought I could escape from the difficulties of maths and spelling. Maybe I thought I would avoid the judgement of the establishment."
About Peter Wright
Peter Wright — Life and Legacy
Peter Wright was a pivotal figure in the discourse on surveillance, particularly through his notable work 'Spycatcher.' His insights into the mechanisms of control and the illusion of freedom challenge readers to reconsider the societal structures that govern their lives. Wright's assertion that 'freedom is an illusion' encapsulates his belief that individuals often operate under constraints imposed by powerful institutions. This perspective is further illustrated in his critique of surveillance practices, where he argues that the erosion of privacy is a significant threat to personal autonomy. By advocating for transparency, Wright emphasizes the need for accountability in systems that wield power over individuals. His work remains relevant today, as it prompts ongoing discussions about privacy, freedom, and the ethical implications of surveillance in contemporary society.
Quote collection
Peter Wright quotes
13 quotes — follow a thought to its full quote page.
"I had been living with dialysis for three years or so, and the new kidney felt like a reprieve, a new gift of life. I felt alive again and I guess that has had an effect on my use of colour."
"I tried to learn the violin for a while."
"Painting is seen as picture making, the making of an art object, something that can stand on its own."
"I have never subscribed to the Dirty Pallet school of painting."
"I think most people see drawing as subservient to the subject, a sort of meditation, a studying, a searching observation, in my case, for its own sake."
"You could always go on changing things but there comes a time when you have to decide to stop."
"When I look at some of my old work, the pieces I find most interesting are the ones with people in them."
"I felt the need to get back to painting and I thought the best way was to start drawing, so I enrolled in a life drawing class. I soon discovered that people made very interesting subjects and I am still surprised that I had never discovered it before."
"I've had to do all kinds of jobs to pay the rent. I've even worked in a Cornish tin mine."
"I used to paint landscapes without any people in them but now I paint people who happen to be in a particular place. They might be outside a pub, or on a beach or in a studio. They might have clothes on or they might not."
"I have to experiment with methods and I'm trying to find an authentic way of making an equivalent of the living, breathing person within the limits of a single picture."
"I never know what it's going to look like. Wouldn't be much point in painting if I already knew the outcome. I have a subject in front of me and I start flooding colour and making marks, I don't know, it's improvisation isn't it?"