Peter Niczewski


In the past I worked in wood, in the most complicated technique of marquetry. My images had to be painstakingly represented in coloured veneers, glued onto a base, sanded, sealed and polished. Eventually I became impatient with the process.
I had enjoyed the challenge: the combining of my graphic design training with craft skills, but my first love had always been drawing and I hadnít really stopped since childhood.
There was always a lot of paper available at home. My father had been architect in Poland before the war. As an immigrant to this country he evolved a design practice involved with exhibition, packaging, and display work. He often used paper sculpture, a technique developed in Eastern Europe in the 1030ís. I remember a paper model of the inside of Westminster Abbey, with tiny paper choristers, that was used for a Christmas cover of Readers Digest Magazine. So, as a child I was familiar with this technique, but never tried it. For me, paper was the surface for the world I drew, and I have always loved the feel of paper.
One day out of the blue I made a bunch if irises from white cartridge paper. Unknowingly I had the technique at my fingertips. I had found a craft that was almost instantaneous Ė although the means are meticulous and precise, it is also more direct. Manipulating the piece of paper to see what it will do, working out ideas is more instinctive in that I will allow the paper itself to present shapes to me. I respond to its possibilities; curved scoring can yield a surprising range of forms, for instance, I am drawn into the third dimension.
Nothing can be more different from marquetry.

Born 1948 London

1968 Chelsea School of Art, Dip AD Graphic Design.

Selected Exhibitions
2006 A Cut Above. The Scottish Gallery, Edinburgh Christmas Show. Leicester City Art Gallery2005 Christmas Show. Contemporary Applied Arts, London
2001 On Paper: New Paper Art. Crafts Council Gallery, London. (Catalogue)1989 Crafts Council Shop, Victoria & Albert Museum, London. (solo)
1987 English Jewellery. Schmuck Forum, Zurich
3 Person Show, with Cathy Harris and Julia Manheim. Galerie Ra, Amsterdam.
1985 Group Show. British Crafts Centre, London
1984 Contemporary Jewellery. Kyoto, Japan
1982 Galerie Ra. Amsterdam. Holland.
Jewellery redefined. British Crafts Centre, London
1981 Wood & Silver. British Crafts Centre, London
1979  Artist Craftmen of 4011 Ĺ workshops, Commonwealth Institute, London.
1979 Crafts Council Showcase, ICA London (Solo)

2001 On Paper. New Paper Art.Jane Thomas & Paul Jackson. Merrell/Crafts Council
1985 The New Jewellery. Ralph Turner and Peter Dormer. Thames and Hudson.

Crafts Council Collection, Contemporary Applied Arts
West Midlands Arts Jewellery Collection
The Paul Derrez/Williem Hoogstede Collection, Amsterdam.
Boymans Van Beuningen Museum, Rotterdam, Holland.
Helen Drutt Collection, Philadelphia, USA
Victoria & Albert Museum, London.





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