CONTINUOUS FLOW: A Year of Artistic Exploration
Martin Mullen Art Gallery SUNY Oneonta
Over the last year I have had several versions of an exhibition that I call, Continuous Flow. The first in Boston at Soprafina Gallery, the second and largest at SUNY Oneonta, and in April, a third at Gremillion and Company, Fine Art, Inc. in Houston, Texas.
These shows came at an interesting time for me. In 2017, as I was preparing for these exhibitions, I lost use of my hands for six months. I had double trigger thumbs, which meant I could not bend my thumbs, write my name, or hold a brush. What to do? I kept working.
I had already been augmenting my representational work with splattering paint and other means of applying paint, so I wasn't at a complete loss as to how to proceed. But I did decide to give myself room to do a lot of experimentation with materials, imagery, and application. In many ways, this process brought me back to my roots as an abstract painter.
What evolved was an exhibition that certainly reflected this experimentation, and yet throughout the work there was a cohesion. I believe that it came from a couple of sources. First of all, all the work was going through my filter - so light and questions of illusion and representation were going to be part of it. But also the words I would use to describe this exhibition has to do with frequency and resonance. And almost all of the work had some sort of dialog going on with "the other side".
People have described my paintings as portals. I find this both amusing and accurate. As a child my greatest desire was to live inside a painting. Moving in and out of the depicted space is always something I have been after, whether the piece is abstract or representational. Above is the blueprint of the gallery, followed by the work in the order that it was laid out and how it looked in the space.
Tree in Twilight, 67” x 96”, oil and metallic paint on canvas, © Leslie Parke 2015
Wood Path, 46” x 46”, oil and metallic paint on canvas, © Leslie Parke 2018
Mirroring Shadowy Light, 20” x 20”, oil on linen, © Leslie Parke 2018
Mysterious Mercury, 20” x 20”, oil on canvas, © Leslie Parke 2018
Summer Rain, 20” x 20”, oil on canvas, © Leslie Parke 2018
Gate, 40” x 72”, oil on canvas, © Leslie Parke 2018
Gate, 18.5” x 34”, photograph, archival inkjet print, ©Leslie Parke 2018
Look Inside, 17” x 34”, photograph, archival inkjet print, ©Leslie Parke 2018
End of the Line, 48” x 48”, ballpoint pen on canvas, © Leslie Parke 2018
Accelerating Geometries, 12” x 24”, metallic graphite on panel, © Leslie Parke 2018
Perfect Zeros, 12” x 24”, metallic graphite on panel, © Leslie Parke 2018
Resurface, 18” x 24”, archival inkjet print, photograph, © Leslie Parke 2018
Surfacing, 18” x 24”, archival inkjet print, photograph, © Leslie Parke 2018
The Queen's Skirt, 65” x 94”, oil and metallic paint on canvas, © Leslie Parke 2018
What's Revealed, 66” x 36”, oil and metallic paint on canvas, © Leslie Parke 2016
Leaning Insulation, 60” x 40”, oil on canvas, © Leslie Parke 2014. Photo: Jon Barber
Silver Light, 46” x 96”, silver graphite and blackboard paint on canvas, © Leslie Parke 2018
The Path, 72” x 30”, oil and metallic paint on canvas, © Leslie Parke 2018
New Day, 66” x 96”, oil and metallic paint on canvas, © Leslie Parke 2019
Boat-Yard, 34” x 25.5”, archival ink-jet print, photograph, © Leslie Parke 2016
Light on the River, 66” x 93.5”, oil and metallic paint on canvas, © Leslie Parke 2015
Continuous Flow at SUNY Oneonta