Peter McArdle was born in Tynemouth in 1965. He gained a National Diploma in Art and Design at Newcastle College in1985, then attended the University of Sunderland, graduating in 1992 with BA Honours in Fine Art. He studied and worked with painter and poet Jeffrey Johnson in London during the following year, and had a series of solo shows. In 1989, he was shortlisted for the Winsor & Newton Young Artist Award. In 1997, he was commissioned for work by the Tyne & Wear Development Corporation and also received commissions from Arts Resource, Sunderland, and the City Council. Peter has participated also in group shows, including those at the Mall Galleries and the Llewellyn Alexander Gallery, London. 
In 2003, Peter founded The Gateshead Stuckists Group as ‘a response to the Baltic's nihilism’, and was exhibited at the Stuckism International Gallery. He featured in The Stuckists Punk Victorian show at the Walker Art Gallery for the 2004 Liverpool Biennial and was one of ten ‘leading Stuckists’ at Spectrum London Gallery. His work has featured in many publications, including Arts Review; The Artist; Gallery; Antique Dealer; Collectors’ Guide; The Guardian Arts Guide and the London Evening Standard. Peter lives in Northumberland, painting seven days a week, starting as early as dawn.
Peter describes his painstaking methods here: ‘I always paint with oil on canvas, which I prime and sand several times with gesso for a smooth surface. I sketch out in pencil and use a 000 (cat's whisker) sable brush to refine and define the sketch. Paintings take six to nine months as an average. Usually a painting changes drastically in the last three or four months. At the final stage I reject around a third of the paintings.’ 
Paintings frequently feature one or more figures in an empty room, often outwardly unaware of each other's presence, and are given titles that are equally mysterious. Peter McArdle’s complex work demands time and engagement from the viewer.
Favourable reviews show how esteemed these paintings are: ‘Augurs well for the future of British painting,’ Arts Review and ‘A top draughtsman with a funky, fluid style,’ London Evening Standard.