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October, 2017  How does one survive a Plutonium blast? If you’re Peter Leighton the answer may come with cool wit, scorching satire and a deadpan sense of irony that in fact, one doesn’t survive it…   READ EXCERPT

October, 2017 How does one survive a Plutonium blast? If you’re Peter Leighton the answer may come with cool wit, scorching satire and a deadpan sense of irony that in fact, one doesn’t survive it…

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In his series “Man Lives Through Plutonium Blast,” on view at the Center for Fine Art Photography in Fort Collins, Colorado in a show closing September 23, Peter Brown Leighton explores themes from his 1950s childhood through what he calls “imaginary vernacular images,” digital collages that transform found snapshots into unsettling and surreal fictional narratives. In the images, often set in domestic spaces,..   READ REVIEW

In his series “Man Lives Through Plutonium Blast,” on view at the Center for Fine Art Photography in Fort Collins, Colorado in a show closing September 23, Peter Brown Leighton explores themes from his 1950s childhood through what he calls “imaginary vernacular images,” digital collages that transform found snapshots into unsettling and surreal fictional narratives. In the images, often set in domestic spaces,..

READ REVIEW

 
 
January, 2017    American Photo Magazine   features "Cut/Paste" exhibit at   Klompching Gallery   in Brooklyn, NY. Excerpt:  Several of the artists in the exhibit mine personal and art history through their works…  …Peter B. Leighton, for example, is interested in the ways we epitomize the past, and so he works with vintage vernacular photography to seamlessly construct new images with found photographs. And within these new narratives, there is a kind of satiric sensibility and darkly comedic undertone that shines through.  January 2017

January, 2017 American Photo Magazine features "Cut/Paste" exhibit at Klompching Gallery in Brooklyn, NY.
Excerpt:
Several of the artists in the exhibit mine personal and art history through their works…

…Peter B. Leighton, for example, is interested in the ways we epitomize the past, and so he works with vintage vernacular photography to seamlessly construct new images with found photographs. And within these new narratives, there is a kind of satiric sensibility and darkly comedic undertone that shines through.
January 2017

2016 OPENING WEEKEND REVIEW    Man Lives Through Plutonium Blast    Artist Peter Brown Leighton creates dystopian 21st-century images by digitally combining black-and white snapshots from the mid 20th century. A man and a woman in '50s bathing suits stand on a beach, plumes of ominous smoke billowing behind them. Four Leave It to Beaver-era brothers crowd around the family TV, the headline announcing "AN ATTACK IS TAKING PLACE." Because Leighton's digital manipulation is so seamless, it is often difficult to know what is real and what Leighton has imagined, which makes the series all the more disturbing, foreboding, charming, bizarre and hilarious.    WILLAMETTE WEEKLY  YEAR END ARTS EVENTS APPRAISALS "The Eight Portland Art Shows I’m Most Glad I Saw in 2016", 29 December 2016 by Jennifer Rabin    READ EXCERPT

2016 OPENING WEEKEND REVIEW
Man Lives Through Plutonium Blast
Artist Peter Brown Leighton creates dystopian 21st-century images by digitally combining black-and white snapshots from the mid 20th century. A man and a woman in '50s bathing suits stand on a beach, plumes of ominous smoke billowing behind them. Four Leave It to Beaver-era brothers crowd around the family TV, the headline announcing "AN ATTACK IS TAKING PLACE." Because Leighton's digital manipulation is so seamless, it is often difficult to know what is real and what Leighton has imagined, which makes the series all the more disturbing, foreboding, charming, bizarre and hilarious.

WILLAMETTE WEEKLY
YEAR END ARTS EVENTS APPRAISALS
"The Eight Portland Art Shows I’m Most Glad I Saw in 2016", 29 December 2016 by Jennifer Rabin

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by Aline Smithson,  October 2016   Peter Brown Leighton is sort of a cross between a comedian and a magician, creating single image novelas that are at once off-kilter and humorous, allowing for a sense of confusion and whimsy within the photographic narrative…    READ REVIEW

by Aline Smithson, October 2016
Peter Brown Leighton is sort of a cross between a comedian and a magician, creating single image novelas that are at once off-kilter and humorous, allowing for a sense of confusion and whimsy within the photographic narrative…

READ REVIEW

 
 
August 2016   PETER BROWN LEIGHTON’S PHOTOS arrest the viewer like a Flannery O’Connor short story. A woman in curlers, holding a miffed Chihuahua, stares provocatively from the couch. A man in coveralls proudly displays a taxidermied wildcat, baring its teeth at the camera. But Leighton’s photos share something else with O’Connor’s oeuvre: his seamlessly spliced analog photos are works of pure fiction.  As a young man, Leighton was trained as an analog photographer but grew into the digital age of imagery in the late 80s. His new exhibition, “Live Snakes,” at Photo Méthode Gallery, showcases Leighton’s delight in bridging the divide between analog photographs and digital technology. With Photoshop, a digital tablet and analog photographs from the early 20th century, the unique work showcases fictitious photographs with an uncanny power to both skew and echo daily reality.

August 2016 PETER BROWN LEIGHTON’S PHOTOS arrest the viewer like a Flannery O’Connor short story. A woman in curlers, holding a miffed Chihuahua, stares provocatively from the couch. A man in coveralls proudly displays a taxidermied wildcat, baring its teeth at the camera. But Leighton’s photos share something else with O’Connor’s oeuvre: his seamlessly spliced analog photos are works of pure fiction.

As a young man, Leighton was trained as an analog photographer but grew into the digital age of imagery in the late 80s. His new exhibition, “Live Snakes,” at Photo Méthode Gallery, showcases Leighton’s delight in bridging the divide between analog photographs and digital technology. With Photoshop, a digital tablet and analog photographs from the early 20th century, the unique work showcases fictitious photographs with an uncanny power to both skew and echo daily reality.

November 2014 AUSTIN AMERICAN-STATESMAN  Three not-to-miss exhibits on the East Austin Studio Tour   by Jeanne Claire van Ryzin … you’d be remiss if you didn’t check out these three shows at three of East Austin’s indie galleries...   ...the three galleries we're recommending — Mass, Photo Methode and O2 — always have wicked good shows.  Austin’s photo scene got a sophisticated boost when Photo Méthode opened last year in the Flatbed Building.  On view now, Peter Leighton’s quirky yet eerie series of imaginary vernacular photos “Man Lives Through Plutonium Blast” toy with the idea that so many events seem to be just beyond our ability to comprehend.  Leighton appropriates the bits and pieces of discarded analog found photographs, deftly blending them together digitally to create images that are at once darkly humorous but also just a little bit disconcerting.

November 2014 AUSTIN AMERICAN-STATESMAN
Three not-to-miss exhibits on the East Austin Studio Tour

by Jeanne Claire van Ryzin
you’d be remiss if you didn’t check out these three shows at three of East Austin’s indie galleries...

...the three galleries we're recommending — Mass, Photo Methode and O2 — always have wicked good shows.

Austin’s photo scene got a sophisticated boost when Photo Méthode opened last year in the Flatbed Building.

On view now, Peter Leighton’s quirky yet eerie series of imaginary vernacular photos “Man Lives Through Plutonium Blast” toy with the idea that so many events seem to be just beyond our ability to comprehend.

Leighton appropriates the bits and pieces of discarded analog found photographs, deftly blending them together digitally to create images that are at once darkly humorous but also just a little bit disconcerting.

August 2016   Peter Brown Leighton's imaginary vernacular images are sourced from bits and pieces of discarded analog photographs acquired over the years from the dust bins of the 20th century. Tell you what: We love this monochrome and faintly Lynchian stuff. And reckon you will, too.    READ REVIEW

August 2016 Peter Brown Leighton's imaginary vernacular images are sourced from bits and pieces of discarded analog photographs acquired over the years from the dust bins of the 20th century. Tell you what: We love this monochrome and faintly Lynchian stuff. And reckon you will, too.

READ REVIEW

2014  LensCulture selects Peter Leighton one of “Best 25 Visual Storytellers for 2014” in international juried competition.

2014 LensCulture selects Peter Leighton one of “Best 25 Visual Storytellers for 2014” in international juried competition.