"Peggy McCreary employs line as a major element with a calligraphic energy in three canvases where black strokes flow fluidly over areas of red with their own whirlwind sense of motion. Liquid splashes and drips of white increase the considerable velocity of McCreary's lyrical composition."

"One big abstract oil on canvas by Peg McCreary was a calligraphic tour de force, with sinuous black lines dancing like the legs of giant insects over a field of softer golden-ocher strokes."

"Peg McCreary grew up in Cleveland where she spent the first half of her creative life involved in classical music, a talent that would eventually find expression in her abstract paintings. She has performed on the viola da gamba and has played double bass with several orchestras, including the Cleveland Philharmonic. She has also been a music critic and a program annotator and continues to study classical piano privately..."
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"Peg McCreary's three same-size canvases, with intriguing titles such as 'Glorification of the Victim,' set collaged sheet music against whiplash strokes and drips with characteristic elan. McCreary's painterly ecriture is invariably juicy and compelling, filling her compositions with a vigorous immediacy that charts her lively trajectory toward abstract resolution."

"Peg McCreary keeps the faith; which is to say: she is one of the few painters today who exemplifies the ethos of what Clement Greenberg termed “American-Type Painting,” what some call “Action Painting,” what others think of as “New York School” painting, and what most of us still refer to as Abstract Expressionism. Moreover, she does so without seeming in the least bit retrograde or resorting to the distancing strategies that any number of her contemporaries use to justify working in a manner that goes against the prevailing conceptual grain."
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"Dripping and spattering, techniques that have by now become part of the arsenal of effects employed by numerous painters, are given a new lyricism in the paintings of Peg McCreary. McCreary employs swirls and skeins of pigment over delicately stained grounds in a manner that effectively unites the modes of very different artists such as Pollock and Frankenthaler to forge a formal vocabulary of her own, with forms emanating from a central source, rather than covering the canvas in an overall manner. As the use of the word "Scherzo" in her titles suggests, McCreary aims for and achieves a sense of compositional and chromatic musicality."

"Peg McCreary's paintings contain two deliberately discrete elements: line and color, which she combines to create compositions characterized by a sinuous grace. McCreary's line has a fluent quality reminiscent of Asian ink painting, as it swerves serpentinely, defining the shapes of her compositions, uniting her muted, harmonious color areas."

"Gesture is paramount in the splashy abstract acrylics of Peg McCreary … as titles such as "Nocturne in Blue" and "Glissando" suggest, McCreary's canvases evoke mental imagery in much the same manner as a musical composition, with their freely flowing, naturally allusive green and blue hues."

"McCreary's fluid abstract paintings inspire viewers along symphonic journeys through undulating forms which build to expressive crescendos. The elongated horizontal compositions allow the images to build momentum and continue off the edges into unlimited possibilities and infinite realms of thought and emotions. They defy their physical boundaries."

"Peg McCreary's gift for painterly calligraphy lends her compositions exquisite linear grace. Her serpentine black line, combined with her palette of subtle, softly diffused earth colors, invariably makes for a graceful and lively visual dance."

"… her biomorphic and ethereal images in golden yellow and clear blues whisper gently against light-filled expansive fields to create poetic and illuminating works."

"Verge" by Peg McCreary, seems to represent a huge open form in space, like a dynamic God in the heavens, springing above us. Along with its many diagonals, the surface takes on a special energy with its varied surfaces."

"Ambiguous forms expand and contract. Washes, spatters and lines against light fields suggest metamorphosis and Life's eternal rhythms."

"Peg McCreary favors a strong central form, defined by sinuous lines, limned gesturally within warm color fields."