He lived for a short time in Paris in 1920, in the house of a socialist baker, before being forced to leave the country due to his political activities.

His contributions to constructivism at the time were to challenge the surface of the wall by producing irregularly shaped wall reliefs and to open up new planes, anticipating the shaped canvas created after 1945;[2] the discovery of concrete as a potential sculptural medium, colouring it if necessary, and the appreciation of the hard contour as a visual device, as seen in his collages and linoprints.

These could be used to create a visual medium hovering between the relief and architecture; whereas Moholy-Nagy's Glasarchitektur achieved this using paint and canvas, Péri used less conventional media.

In 1928, he signed the manifesto and statutes of the Association of Revolutionary Visual Artists of Germany (Assoziation Revolutionärer Bildener Künstler Deutschlands) (ARBKD) (ASSO) which, like other new and militant Communist art organisations, called for a reinvigoration of the idea of "proletarian culture" and suitably positive images of working-class life and culture.

Peri immigrated to England in 1933, after his wife Mary Macnaghten, granddaughter of social reformer Charles Booth, was arrested in possession of Communist propaganda.

In 1934, Peri contributed "several forceful works in coloured concrete" to the Artists’ International Association (AIA) exhibition The Social Scene.

[citation needed] In July 1938, he had a solo exhibition London Life in Concrete in an empty building at 36 Soho Square.

[4] Commissions from Stuart Mason, Director of Education for Leicestershire included Two Children Calling A Dog, Scraptoft, c. 1956; Atom Boy, and Birstall, 1960.