The musical flow of colors in Peter Kuckei's paintings, and his association with imaginary landscapes, illustrates a structural element in his art practiced since Kandinsky's time. These elements create in the field of the canvas, a sort of magnetic force that holds the composition together. The free improvisation that commands Peter Kuckei's paintings, avoids any decorative "trappings", thus projecting his paintings into a realm where abstractionism is in constant state of renovation.

Peter Kuckei's abstract tendency however, must be considered with a closer look towards his real intents. His polyphonic paintings are embedded not only in a "retinal" conception of his work, but also in an "audiovisual" approach to the practice of his art. This approach belongs to an old tradition, (alive since the Greeks), that understands the harmonious relationship that exists between color and sound. The diverse tonalities of the musical language correspond with the prism of colors, creating between them new and unexpected expressions that have been one of the gains of abstract art.

At the peak of his career, Peter Kuckei has been able to show a body of work that continues to enrich the mainstream of abstractionism. It will be a mistake (quite á la mode today among many art critics) to consider this tendency as over. On the contrary, in the midst of so many new "cutting edges", his paintings demonstrate the real substratum that lies in the very gesture of combining forms and colors into a new form of life. In that sense Kuckei's bridging between the boundaries of the past and the present, represent a step forward in the right direction. Oblivious of the vagaries imposed by the powers that command the world of contemporay art, Peter Kuckei's paintings remain untouched; a good sign that highlights the quality of his work.

Carlos Luis, Miami