His chubby women’s silhouettes feed on slender, tangible contours and are virtually free of hatching. Shadows and light are practically ignored. A long search precedes the sketched and light line drawings. Peter Gut makes countless preparatory drawings until he finds the perfect composition. Subtle touches of watercolour and shades of grey brighten it up. Peter Gut’s erotic drawings thus highlight his talent for abstracting characters and adorning them with an almost palpable vitality associated with emotional intensity at the same time. These images celebrate the right and unique line, while evoking the vigorous and sure line of Tomi Ungerer, another great designer and admirer of the female anatomy.
However, the eroticism of Peter Gut’s caricatures is not only due to his very feminine silhouettes, but also to the enigmatic associations evoked by the women depicted and the objects that add a touch of fine and sensual humour to the situations. Produced without taking into account the editorial lines or visual habits of newspaper readers, these works are both free background remove service and personal. Itching powder Cartoons can cancel the distance between the observer and a person’s reputation or function. A reversal of roles takes place during the process of observation and identification by the observer: through the critical glance posed by this last one on the crunched person, the authorities and the criticized conditions are questioned. Peter Gut is one of the cartoonists who master this art of deconsideration to perfection. In doing so, he is not content to ridicule the target of his mockery by exaggerating the physiognomy.
He has much more the talent to create original images and surprising situations that cast a new and often unflattering light on the character traits, intentions or actions of caricatured people. Many of his works present absurd and grotesque moments which require from us a certain capacity of association and combination. Often Gut goes even further, detaches himself from the current concrete event to find a universal and timeless essence. More free, these works marked by a humor on several levels lend themselves particularly to reveal Peter Gut’s talent as a draftsman who explores better than others the possibilities offered by caricature. And who sees in the political drawing a playground where everything intertwines and where the most twisted humorous point is erected. Thus, Gut uses here not only his fine jokes, but also his qualities as an experienced draftsman armed with a great repertoire of figurative styles and means.