For half a century, Adam Peck’s creative work has taken shape in the mediums of architectural design, painting and sculpture. Peck currently makes his home in Provincetown, MA, the historic artists’ colony that has nurtured countless world-renowned painters and writers, and spends part of each year in Paris. Peck’s paintings and sculptures center on iconic graphic images such as his ubiquitous house, black birds and lighthouses, rendered with a stark precision that reflects his architectural outlook trained on a personal vision.


Peck expresses his view of architectural design, which he has applied to commercial and residential projects in Provincetown, New York City, Los Angeles, Honolulu, Key West, and Paris, by saying, “I am a three dimensional thinker. It has nothing to do with me or my preferences- the goal is to listen carefully, to visualize the space and in particular the function because architectural design is less about what it looks like than what it is.” Peck applies this same approach to his painting and sculpture: “When the blank slate is in front of me, it is once again a process of getting myself out of the way and listening. I certainly design the paintings- I know for instance it’s going to be a house on a horizon with a moon- but the finished work always takes over and I follow much more than I lead.”


An image that has become iconic in Peck’s artwork is the little house. This simple and symmetrical outline of a dwelling, standing alone or in an abstracted landscape, has limitless possibilities for the artist: “When I look at a house passing on the street, I don’t see the façade so much as a whole life going on there. It could be happy or sad- someone could be being born or dying. For me it represents the great mystery of something that is very integral to what we consider civilized life- a house, a habitation, a shelter. The house has a face, it has a façade, and like all things at its most reduced it is symmetrical.”