Sydney Morning Herald art critic Sebastian Smee says of Peter’s work: “O’Doherty distils each scene down to the bare essentials of form and colour. His images are flattened, so that shadows, for instance, become critical elements in the overall composition of each work and his light is mostly a heightened, near- artificial, late-in-the-day drenching that creates simple shadows and saturated colours. When they work best, they have strong connections with geometric abstraction.”
