Then I have enough material to get it around the year. In France, he runs around looking for the perfect location to sit and draw. In nature, he makes numerous sketches and elaborate pencil drawings. His paintings in color he later makes in his studio.

I am highly dependent on light, and thus shadow. First I drew only if it was sunny. It was very easy, but also that limited me. In recent years I also work on cloudy days. That started when I looked at wet moss and it seemed like it gave off light. That I am going to see now. Now I'm no longer so dependent on the sun.

Sightseeing is very important for Peter. I do not choose just a topic, the topic should come to me. Walking around and looking does help with that. It may be that I'll be somewhere and that it is not. The next day I'll be there again, and again nothing. Suddenly the third day, then it is interesting. You should not be looking, it often manifests itself. But you have to open up for it.

The pencil drawings that Peter makes are the basis for his paintings. I do not work from memory. I observe and determine the subject and composition on location. If I chose a topic, then I start drawing. That is puzzling, there are things going on and things do to. When the drawing is made, I hardly deviate from it later. The color you then still miss. That I work on later, on the basis of feeling and memory. My use of color remains within a limited area.

It was not obvious that Peter ended up in art. At 25 he started on Minerva. As a student he was very eager to work. With only talent you will not get far. You have to work hard, be committed to develop yourself. Johan Cruijff could also not 1-2-3 all those feints. That should evolve.

Teaching is something that Peter never expexted to do. Following a call from Tom Hageman, I've been there from the start and, now already a number of years ago. The most beautiful Peter finds the development by the students. In a group you always have students of different levels. You have some real talents, which can do already very much. But often the group that is probably considered less at the beginning, makes the biggest development. Them you can really still learn things. Also the social aspect of teaching he finds enjoyable. Otherwise you're just sitting behind your easel. And these paintings say really not that much back.

Most importantly to Peter is the pleasure of drawing. That is a prerequisite. If you do not enjoy it, you have to stop. For me pleasure is that you pay attention to the simple scenes of nature, where you could look over normal. If you then say: that’s the same a ranger does. That's right! Then the ranger and I are colleagues.