#michaelpeterson

Sculpture, Michael Peterson, 2007, Minneapolis Institute of Art: Decorative Arts, Textiles and Sculpture

abstract rectangular object with separate wedge; hollow wood burl with crack like openings and holes; wedge positioned under larger piece and protrudes on one side only and is for visual balance not stability The striking rock formations of Bryce Canyon in Utah inspired Michael Peterson to explore land surfaces through his vessels, sandblasting and bleaching in order to translate the idea of erosive forces working to sculpt and patinate the surface of wood. Those vessels led to recent madrone sculptures such as this one, carved damp with a chainsaw and left to shrink and warp as it dries. Working intuitively, Peterson allows the forms to reveal themselves as he goes along. He sandblasts and stains the wood to exaggerate the grain and texture. Ironically, these highly worked pieces look as though they were found in the natural landscape. According to Peterson, he "places a lot of importance on the tactile quality as well as the visual success of the surface," feeling that his work is meant to be read with both the hands and the eyes. Size: 28 x 7 7/8 x 8 1/2 in. (71.12 x 20 x 21.59 cm) Medium: Madrone burl

Arroyo, Michael Peterson, 1992, Minneapolis Institute of Art: Decorative Arts, Textiles and Sculpture

light-colored wood; bowl shape with organic concave and convex curves on shoulder; rounded bottom Size: 5 1/4 x 11 1/4 x 11 1/4 in. (13.34 x 28.58 x 28.58 cm) Medium: Locust burl

The Real Life Queen of Swords

GREAT TRIALS INSPIRE FICTION A trial is a cutaway of its time and place, a look not just into mores and modalities but secrets and sewage. Two of the most interesting trials I have seen – and I watched every day – were Beth Carpenter’s trial in New London, CT and Michael Peterson’s in Raleigh, N.C. (both 2002, both for first degree murder.) Each trial exposed the inner workings of a family (two…

MICHAEL PETERSON

1943

SUSPECT IN HIS WIFE AND FRIENDS DEATH, WHO WERE BOTH FOUND DEAD AT THE BOTTOM OF A STAIRCASE AFTER BEING ALONE WITH HIM

            Peterson is an American novelist who was born in Nashville, Tennessee. He married Patricia Sue and they had two children and lived in Germany. They were friends with Elizabeth and George Ratliff, after they died; Peterson became guardian of their two children.

            Elizabeth Ratliff was Michael’s friend and neighbour who was found dead at the bottom of her staircase at her home in Germany in 1985. Michael was the last person to have seen her alive and was alone with her the night before. The Petersons had dinner with Elizabeth and her daughters that night, afterwards Michael remained behind with Elizabeth before he went home. Her body was discovered by the children’s nanny the next morning.

            After Patricia and Michael broke up he moved to Durham, North Carolina and married Kathleen in 1997, Kathleen had a daughter from a previous relationship. 

            Kathleen Peterson was found dead at the bottom of the stairs in their North Carolina home in December 2001. Michael called police and told them that he believed she had fallen down the stairs. He later said that he had been outside by the pool, came inside at 2:40am and found Kathleen dead at the bottom of the stairs. She had alcohol and valium content in her body at the time of her death. She had a fractured skull and seven lacerations at the top and back of her head. It was believed she may have been killed by a blunt object and died from blood loss between 90 minutes to 2 hours after she sustained the injuries. Michael was the only person at the home at the time of her death.

            Investigation revealed that Michael had been having affairs behind Kathleen’s back with men whom Kathleen allegedly didn’t know about.

            In 2003 he was convicted of murdering Kathleen, in 2017 the charges changed to manslaughter and today he is free. Today he lives in Durham, North Carolina and had filed for bankruptcy.  

Arroyo, Michael Peterson, 1992, Minneapolis Institute of Art: Decorative Arts, Textiles and Sculpture

light-colored wood; bowl shape with organic concave and convex curves on shoulder; rounded bottom Size: 5 1/4 x 11 1/4 x 11 1/4 in. (13.34 x 28.58 x 28.58 cm) Medium: Locust burl

Sculpture, Michael Peterson, 2007, Minneapolis Institute of Art: Decorative Arts, Textiles and Sculpture

07-25; rectangular, hollow piece of wood with solid piece of wood placed inside; rectangular piece rests on flattened rectangular piece that is also hollow Michael Peterson draws inspiration from the natural landscape of the Pacific Northwest. In recent years, Peterson has developed a series of madrone sculptures, carved damp with a chainsaw and left to shrink and warp as they dry. He sandblasts and paints the wood to exaggerate further the grain and texture. Ironically, these highly worked pieces of wood are then stacked into configurations that look as though found in the natural landscape. The rust-colored mottled surfaces of this sculpture relate directly to Peterson's description of the work as "continuing organic abstraction and a sense of landscape." The sculpture evokes a decaying fragment of a red madrone tree. Size: 8 3/4 x 21 3/4 x 7 in. (22.23 x 55.25 x 17.78 cm) Medium: Madrone burl

Coral Stone, Michael Peterson, 1990, Minneapolis Institute of Art: Decorative Arts, Textiles and Sculpture

bleached and sandblasted; rounded base, flaring out to wide rounded shoulder, flat on top; flat mouth on short wide neck; light cream-colored to light brown; highly textured Size: 8 1/16 x 14 x 14 in. (20.48 x 35.56 x 35.56 cm) Medium: Maple burl

Sculpture, Michael Peterson, 2007, Minneapolis Institute of Art: Decorative Arts, Textiles and Sculpture

abstract rectangular object with separate wedge; hollow wood burl with crack like openings and holes; wedge positioned under larger piece and protrudes on one side only and is for visual balance not stability The striking rock formations of Bryce Canyon in Utah inspired Michael Peterson to explore land surfaces through his vessels, sandblasting and bleaching in order to translate the idea of erosive forces working to sculpt and patinate the surface of wood. Those vessels led to recent madrone sculptures such as this one, carved damp with a chainsaw and left to shrink and warp as it dries. Working intuitively, Peterson allows the forms to reveal themselves as he goes along. He sandblasts and stains the wood to exaggerate the grain and texture. Ironically, these highly worked pieces look as though they were found in the natural landscape. According to Peterson, he "places a lot of importance on the tactile quality as well as the visual success of the surface," feeling that his work is meant to be read with both the hands and the eyes. Size: 28 x 7 7/8 x 8 1/2 in. (71.12 x 20 x 21.59 cm) Medium: Madrone burl