Parke-Wrapped Blue

Leslie Parke, “Wrapped Blue”, 40 inches x 72 inches, oil on canvas, 2014. Photo credit: Jon Barber

EVERYTHING IS REAL is a group of paintings that are both abstract and representational. Each image in the series exists in the real world – an old board of insulation, an industrial garage door, a silo and corncrib, a track in the mud and wrapped cargo on pallets. At the same time, each has been composed to accentuate the inherently abstract qualities of the reflective surfaces and their interplay with light.

Leslie-Parke-Silo

Leslie Parke, “Silo”, 46 inches x 96 inches, oil on canvas, 2014. Photo credit: Jon Barber

I started my career as an abstract painter, sometimes making non-objective images and at others deconstructing the work of earlier masters, such as Ingres, Matisse and Giotto. Then in the 1990s I received a grant to spend half a year at the Claude Monet Foundation in Giverny, where I had a studio and 24 hour access to the Monet’s garden. At first, I looked for anything abstract; the structure, the color — but in the end, I was seduced by the light. Since that time, I have been in search of the subject matter that would resonate best with this full range of interests. I have painted many things from nature in the past, and even some traditional still lifes, but I’ve never completely related to those traditional genres. It wasn’t until I stumbled onto a waterfront dock piled high with pallets of cargo wrapped in plastic that I felt I’d finally found my subject. This shiny, transparent, and translucent stuff, which reflected light and held water bubbles from the rain, had all the qualities I was searching for. The subject is completely abstract, and yet has a surface as complex and difficult to paint as one of Ingres’ satin dresses.

Leslie Parke. “Leaning Insulation”, 60 inches x 40 inches, oil on canvas, 2014. Photo Credit: Jon Barber

At last, all the elements I’ve worked on separately over the years have come together in these new paintings and I can see a way forward. Everything is real; every crease exists in the object, every reflection.

 

And yet . . .

 

 

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