Early Life, Family and Training

Born in Vancouver, Canada, in 1918, Peter Aspell grew up in a landscape that would eventually shape his creative perspective. His formal training began at the Vancouver School of Art, where he developed the foundational skills of his craft. In 1939, he spent time at the Vancouver School of Art summer camp on Savary Island, a period of study that preceded the significant disruptions brought by global conflict. During World War II, Aspell paused his artistic development to serve in the Canadian army.

After the war, his dedication to his craft led him to further study at the Academies de Ghent in Belgium. This international exposure helped broaden his understanding of form and technique. His talent was recognized in 1948 when he was awarded the Emily Carr Scholarship, an achievement that allowed him to travel through Europe. These years of study and travel provided the essential building blocks for the decades of work that followed.

In his personal life, Peter Aspell was married to Joy, who was also a painter. Together they built a life that included several children: Carl, Emily, John, Lenore, Andy, and Byron. His family remained a constant presence throughout his long life, which spanned more than six decades of creative output.

Career and Teaching in Vancouver

During the years following his service in the Canadian army, Aspell became a fixture in the Vancouver art scene. His presence in local exhibitions was steady; in 1943, he exhibited with the B.C. Society of Fine Arts under the name Sgt. Peter Aspell. By 1946, his reputation was such that he was included on a list of leading Vancouver artists provided to the Labour Arts Guild. This period of growth led to a significant solo show at the Vancouver Art Gallery in 1955, marking his established place within the community.

Aspell’s influence extended far beyond his own canvas through his commitment to education. From 1948 to 1970, he served as an educator at the Vancouver School of Art, working alongside other notable figures in the local painting scene. His dedication to passing on his knowledge continued at the University of British Columbia. Later, between 1970 and 1978, he took a more independent path by running The Peter Aspell School of Art, a venture that allowed him to shape the next generation of artists in his own way.

Technique and Artistic Style

Aspell developed a personal way of painting that blended primitive and expressionist elements. His work often felt like a dream, leaning into a surreal aesthetic that set him apart from his contemporaries. He had a way of using color that was both complex and deeply felt, often choosing bright tones that drew the eye immediately. This use of color was frequently influenced by the aesthetics of African art, creating a visual language that felt both ancient and immediate.

His interests often drifted toward the spiritual and the ritualistic. He was drawn to the ways different cultures approached worship and the sacred, and he brought those ideas into his own compositions. This fascination with the divine and the ritual often collided with a more grounded, human sense of humor or even sharp satire. He was not afraid to be defiant, using his canvas to critique the mechanical nature of modern society or to poke fun at the social structures around him.

In his more serious works, he explored the human condition through a lens of both joy and gravity. He could move from a playful, satirical portrait to a large-scale, solemn depiction of a deity with ease. His paintings often felt like they were holding a secret, balancing the lightness of bright pigments against the weight of deep, cultural meaning.

Key Works and Collections

Aspell's visual legacy is preserved in several significant institutions across Canada. His paintings can be found in the National Gallery of Canada in Ottawa, as well as the Vancouver Art Gallery. Other collections that hold his work include the Hamilton Art Gallery, the Kelowna Art Gallery, and the Art Gallery of Greater Victoria.

Among his notable pieces is Morning Sun Goddess, a large-scale work measuring seven and a half feet in height. He also produced March of the Machines, a piece that functions as a critique of societal mechanization. His ability to blend humor with human observation is seen in Man in the Herringbone Suit, which belongs to his series of memory portraits. His 1947 self-portrait is also held within the National Gallery of Canada.