“Loss of home is an unbearable consequence of diaspora. Denis Peterson's hyperrealist portrait of a homeless man in Dust to Dust is a stark reminder of humanity displaced." Mary Birmingham, Jersey Journal

"Maybe we need people who can remind us what being human is all about, its best and its worst. Denis Peterson may not want to be one of those people. But then he may not have a choice." Chris Rywalt, NYC Art

“What makes it all the more unnerving is that this horrific subject matter is treated with a sophisticated, hyperrealist airbrush technique and so exquisitely crafted that I initially took them for photographs.” Robert Ayers, Art Info

“Beautiful and hyper-real in appearance. He reminds us that people suffering terribly are living, breathing, thinking feeling individuals in need of our attention and help.” Chris Ashley, Look See

“To witness genocide is to feel not only the chill of your own mortality, but the degradation of all humanity. Even the most brilliant photography cannot capture the landscape of genocide. This room is empty, though it is full. It has been emptied thus, not by the misfortune of disease or disaster, but by the hatred of other people. Denis Peterson’s masterful photorealist airbrush paintings are metaphoric silent witnesses - quintessential portraitures of salient human beings and stunningly incorporeal landscapes." Fergal Keane, BBC Correspondent

"This kind of virtuosity in technique is always impressive... What makes Peterson’s work doubly interesting is that he has created a show that is designed to benefit the subjects of his paintings..." Peter Ferko, Artists Unite

"Peterson's recent work tells a very special story." Barbara Blackmun, FOX WORTV

"One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism or hyper-realism and painters like Richard Estes, Denis Peterson, Audrey Flack, and Chuck Close often worked from photographic stills to create paintings that appeared to be photographs." Graham Thompson, American Culture in the 1980s