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An invitation to reflect on my creative process and art world is welcome, as that activity is seldom at the top of my to-do list. To paraphrase from my entry for the Monterey Biennial, creating art brings me supreme joy, sharing it with the world expands that feeling. I am always amazed to be able to follow my creative heart with no externally imposed limits. Complete freedom—what a miracle. My art is inspiration-based. When a thought springs forth, I pursue it, and I love it when that idea leads to another and another—that is art bliss for me.

I am not unfamiliar with the idea and process of juried art shows, thus the Monterey Biennial was a sort of full-circle moment for me. Being accepted in a juried show never gets old and is always a flattering moment.

The years 1972–1981 were the first that found me delving into the activity of exhibiting my art efforts. Between being selected in numerous juried shows and multiple gallery exhibits, I was quite pleased with the results of showing my art.

From California to New York and many locations in between, juried exhibits were the initial stepping stone to exhibiting my work. From several showings in the Los Angeles All City Show at the Municipal Art Gallery at Barnsdale Park to having my work selected for a $200.00 first prize in the annual Many Media Mini Show in Redlands, CA. to receiving a cash award for my entry in the small images exhibition March 1979 at  Santa Barbara City College, I was thrilled with the accolades. Another highlight was a Zaner Gallery, New York, juror's award from famed gallery owner Betty Parsons, who also purchased my piece for her personal collection.

The reputation of the judges for juried shows was often a deciding factor in whether to apply or not. I was honored to have my work selected by such notables as James Alinder (in 1986 at this museum), Van Deren Coke, Betty Turnbul, Jo Ann Callis, Robert Heinechken, Arnold Mesches, and James Fuller, among others.

These efforts led to small group exhibits or one person shows including exhibits in Santa Monica & Ocean Park, Albuquerque, Laguna Beach, Los Angeles and Monterey at the former Bruised Reed Gallery on Alvarado St. which was reviewed by Irene Lagorio in The Monterey Peninsula Herald in November 1980—life was good and continues to be with my selection to the first Monterey Biennial.

The series from which I decided to enter in the Biennial is recent, if not my most recent. I consider it a fully formed suite that constitutes its own 'portfolio'. Each individual piece, two images printed on fine art paper, is a diptych. In the world of art images, I find diptychs to be somewhat rare yet so intriguing. They seem to naturally engage the viewer in asking questions – why are these images together, what is the connection, were they deliberately taken to be together, what resonates between them, what do they have in common, would each image stand alone? The diptychs seem to provide a wonderful opportunity for dialogues and conversations about art.

As the images are abstractions, that again presents pathways for reflection. Time-aged paint on metal, along with details of nature, opens possibilities for contemplation.

Keeping art in one's heart rings true for me and hopefully for others.

Peter Hiller (b. 1952), Monterey County, Paint&Nature - Nature&Paint #1, 2023, 20 x 14 in., digital photographs on archival art paper.