Shown at:
Touché, Andrew Mummery Gallery, London, 5 - 30 September 2000

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In  ‘Touché’, the gallery was packed with work which juxtaposed notions of working as an artist with ideas of being perceived as one.  ‘Signatures’ consisted of a display of sixty facsimile signatures (Picasso, Bob Dylan, Vermeer), each marker-penned onto the cellophane covering a vacuum-sealed canvas and each one signed and dated by Peter Harris.  On the one hand this was dry, conceptual work about appropriation and authorship, but, when you surmised that the names involved have all influenced Harris, it became something else.  In some works, where the copied signatures had been painted onto large canvases with the aid of projection, the enlargement and overlapping of names produced near-abstract paintings, which functioned partly as tributes.  Vincent and The Sex Pistols, who were represented by the band logo and by the four band members’ signatures appear repeatedly.

Duncan Mclaren, Independent On Sunday