Due to a necessity seated sented within, the songwriter Peter Stone and the painter Peter Piechaczyk reunited under one name: Peter Piek. A few years ago, when Peter Stone started, I had a general tendency towards a split. I had recognized myself as a being with a soul consisting of several parts and wanted to fathom this phenomenon. So, I decided to name those parts that I could make out. This happened in the year 2000. The first thing, I realised then was that everything that has an effect on the outside has an effect on the inside, too. Peter Stone increasingly gained more and more publicity. This meant a shift of perception both on the inside and outside. The works reflect inwardly. Thus, the balance of these parts of my soul was challenged. Many people merely knew either Peter Stone or Peter Piechaczyk. Consequently, I had difficulties to comprehend myself as a whole. The painter was able to free himself a little from the music then. I didn’t want to incorporate the music completely in the pictures, yet. During those days, I created static and plane pictures; pictures of a clarity that I probably will never achieve again. Peter P. desired to paint. Peter Stone desired to make music. Nothing else. Apart from those two most important parts of my soul, there were two other parts that had managed to develop and get names: Peter Stillman and Peter Sternkopf (I just chose some names that came to my mind). “Name is name.” (quotation: Klaus Sobolewsky). Furthermore, there are ‘Primal Peter’ and ‘Murderer Peter’. Others arose during the work for the 1. “Malfrontquartester” und during the writing of ‘Das Malbuch’ [translator’s note: yet to be translated]. So, there Peter the edge (chain saw murderer) and SMPP (sevenmillionpowerpete (superhero)) came into being. Both of them are novel figures. Thus, there was a lot going on those days. I wanted to get to the bottom of this. It was thrilling anyhow and I was glad achieving this point and had invested some effort in it at the time. Peter Stone thought differently than Peter Piechaczyk. He had different pleasures, had different friends, had a different taste, such as I am different on stage than I am at home in the studio. The more people, I discovered and tried to bare, the more difficult it became to get along with all. Surely, sometime would come the point, when the whole thing would collapse, but I never had the feeling to be ill or something. Far from it! I think that only few people can achieve this state. I saw it as a chance. You can also refuse it and then, nothing happens. You have to be very open minded towards yourself. You must be able to let it flow and should not be frightened by yourself. Many people claim to know themselves well. That’s when I think ‘Wow! How many are it in your case?’ Then you get the answer ‘No, no. You are for more than you think and would possibly guess. Believe me. And you can be even more than this.’ That is why only those few, who already have discerned someone inside of themselves. It’s quite hard to explain, as it is about emotions. If you are an actor who acts a part, what do you do? You look inside of yourself to see, if there is someone who fits the part. If you are a good actor, you’ll find him. You will not pretend to be someone else. Instead, you will be yourself. Then you try to become this person completely (what, according to my experience, you should do. However, the job necessitates this skill. In this case, you must be able handle it). All this generated a lot of complex conclusions which were suddenly incredibly simply and obvious. One example: The 1. Malfrontquartester was about a serial work of self-portraits in small format. I had paint twelve pictures; A homogenous series with an obvious tendency towards a disbanding of plain-coloured surfaces with names such as ‘Selbstportrait als Schmetterling’ (Self-Portrait as a Butterfly). I thought that would be the rough outline. Then, to be honest, I had the feeling that something was missing, though. I painted two other pictures: ‘Selbstportrait als Mörder’ (Self-Portrait as Murderer) and the last one ‘Selbstportrait als Mensch’ (Self-Portrait as man); two pictures that strongly differed from the other twelve pictures; more gesticulatory and far more uglier. There, it was paint. It hung on the wall; there it was. A man? Ok. That’s me, I thought. But am I a murderer as well? That was the question. Yet I had painted it. And yes, it’s right. That doesn’t mean that you have to be afraid of me. No, no. Apart from biting midges and sometimes an annoying fly (that is not too big and disgusting) or a snail that I accidently run over, I don’t kill anything. Nevertheless, anything that lives kills as well; always; permanently. I need space. Where I am, there can’t be anyone else. Killing is a precondition of life. After all, I need something to eat. I’m not a vegetarian. It is a lot of fun, too. Plants are living things as well. And I am hungry. And I want to live. The murderer is a part of my personality, deep inside of me. And I can tell you that you have this part somewhere inside of you, too. Anyone has it. There’s no exception. Well. Additionally, we have the aspect of the murderer within the species. This murderer’s part in my soul is the one that is the most deep-sealed. All those other ones stand above it. This means if I ever happen to be in a situation when my life is in really serious danger, when all other parts of my soul are at a loss, I know it is there – to save my life. In this context, this is not a murderer, but a part of my soul who wouldn’t rule out the consequence of murder. One example among many others. In 2003, the first rhythmic pictures emerged; reduced, linear pictures with simple rhythm patterns; dancing with a drum track’s appearance (Pictures No. 9 – 24). This lead to a split within my painting between rhythm pictures and plane paintings (especially ‘Zwei Köpfe’ (Two Heads) and ‘Abstürze mit drei’ (Crashes in the Age of Three)); pictures having an organized structure and voice. It was difficult during this time; quite confusing. It was never a burden for me, but even though, it became a problem. The years 2003 and 2004 were the central phase of splitting. I wanted it and I was willing to unearth it, and reached a limit. It was increasingly harder to respect the single parts of my soul, as new, inexperienced parts occurred. Although I was content with the results of this period, I wanted something new. I realised that I could only achieve my goals with my works, if I add my skills up. As I know today, I began to prepare the reunification in 2004. The resolution in perspective: the plane. It enables the unification of structure, rhythm, colour and voice. I began to write progressively picturesque songs; songs that claim to be nothing but themselves; songs about colours and gesticulatory swings. The problem was and is: the balance between the single components. My pictures are painted songs. I paint the same way I write a song. Nonetheless, the reunification came surprisingly. And now, it is not the same as it used to be. All of them are still there. Where should they be gone, anyway? After all, I have carried off the conscience to be one. That’s it. The whole thing has also brought something like a philosophy in my mind. It says something like this: relief → reunification. So to speak: relief from the odd; relief from abuse; relief from distance; relief from burden; in painting; anywhere. Therefore, a new perspective should be possible; a new perception; a deeper sensation; a new vicinity; reunification. With what? With yourself. This is where you should begin. Peter Piek, Leipzig, 06/02/2006 |