Creativity is founded on experience - makers' and those who engage with the outcomes of creative activity who make those works again. In many instances, that experience is transformative, it undoes and redoes, undoes and redoes how individuals and groups are in the world. A necessary part of that potential for transformation is that creative works retain the capacity to surprise. Even those things that are well-known or experienced time and again can illicit quite unexpected responses. They dissemble and assemble, dissemble and assemble themselves, their makers, their audiences. That seems to be part of the attraction of creative works, part of their challenge, part of their necessity.

So, for this diversion I thought about some of the myriad examples I've not had the chance to be with or perhaps have passed unheeding. It's constrained, of course by the limitations of experience; not so much the editing out of favourites or continuingly compelling things but by the ability to name actual examples for this baker's dozen. Hence I know of them enough to name them but cannot claim to knowing them. While they have an order in my head today, any imagined list was different yesterday and will change again tomorrow.

Gianlorenzo Bernini: Ecstasy of St Theresa, Sta Maria Vittoria, Rome, Italy.

Walter Della Maria: Lightning Field, New Mexico, USA.

The painted cave at Lascaux, France.

Karin Sander: White Passageways, Lodz, Poland.

Giovanni Battista Tiepolo: Treppenhaus, Wurzburg Residenz, Wurzberg, Germany.

Oscar Niemeyer: Brasilia, Brazil.

Ceramic bowl with inscription from Samarkand or Nishapur, National Museum of Iran, Tehran.

Jan Vermeer: The Concert, formerly at the Isabella Grainger Museum, Boston, current location not known.

Le Corbusier: St Pierre, Firminy-Vert, France.

Petra, Jordon.

Diego Velasquez: Old Woman Cooking Eggs, National Gallery of Scotland, Edinburgh.

The museum of porcelain-ground reproductions of "masterworks" of western and eastern art at Otsuka Museum, Naruto City, Japan.

Titian: The Flaying of Marsyas, State Museum, Komeriz, Czech Republic.

Peter is currently on secondment from The University of Auckland to Manukau Institute of Technology as the Head of Department at the Manukau School of Visual Arts. A key element of his role is to build on the work that has already been achieved there and with staff to develop new directions for visual art and design education from certificate though to degree level. This comes at a time of tremendous degree of interest and investment in creative arts and industries and one of considerable change in the tertiary sector.

His own research interests are broad but a particular area of specialisation is the inter-relation of the creative arts and law. Hence one of the issues that is significant for his work at present is the proposed introduction of a resale royalty right for artists whose work is sold on the secondary market. He also writes on New Zealand contemporary art and design and is an active curator - his most notable recent major projects being "We fought fashion - and lost!": WORLD 1989-2005 and Zambesi: Edge of Darkness, both at the Auckland War Memorial Museum.