Erik Parker 'Other Side of Morning and Bermuda' (Gstaad)

Erik Parker 'Other Side of Morning and Bermuda' (Gstaad)

Gstaad, Switzerland Tuesday, December 27, 2011Tuesday, January 31, 2012

Gstaad, Switzerland
Tuesday, December 27, 2011Tuesday, January 31, 2012

Erik Parker, Other Side of Morning and Bermuda

Patricia Low Contemporary, Gstaad
Exhibition dates: 27.12.2011 – 31.01.2012;
Opening: 26.12.2011, from 6 to 8 pm

Patricia Low Contemporary is pleased to announce Other Side of Morning and Bermuda, a solo exhibition by American artist Erik Parker.

Over the past decade, Erik Parker has forged a reputation as one of the most radical painters of his generation. His works – which veer from graffiti-inspired text compositions, garishly trippy portraiture, lurid ultra-pop still-lifes, to obsessively illustrated graphic fields – aren’t united by genre or style, but rather cohesively reflect Parker’s distinctively idiosyncratic sensibility. Influenced as much by outsider art and sub-cultural memes as by pop, surrealism, and early 20th c. abstraction, Parker describes his approach as “blue collar formalism”: his canvases epitomise a punk-ethos redress of art history, thoroughly infused with urban grit.

Featuring new works from his still-life and jungle series, Other Side Of Morning and Bermuda takes its cues from Parker’s childhood fascination with the Bermuda Triangle; a real life nether-zone of the bizarre and inexplicable. The canvases, each a chaotically balanced myriad of toxic-hued exotica, unsettle with the sense of skewed familiarity. With their homage references to Rousseau, Picasso, or Lichtenstein, the hallucinogenic landscapes and vases of radioactive flora brazenly stake claim on hallowed territory: the archetypal subjects reworked, reinvented, and authoritatively re-owned through Parker’s exhaustive process of drawing before they’re improvised afresh on canvas.

At the heart of Parker’s paintings is a drive towards innate semiotic instinct: the font fetishism of graffiti, the compositional rhythms of Matisse, or the op psychedelia of head shop posters all provide a model of ‘typography’ – a primal impetus of mark-making, gesture, and form as intuitive universal referents. Works such as Bermuda, a swarthy tropical night scene framed by a mass of lusciously venomous vines, can be conceived less as painted than written: each detail of its mandala-like patterning is individually rendered with calligraphic flourish, a unique script within the whole of an epic.
With his high-velocity palette, acid trip perspective, and flat screen graphics, Parker’s is an extreme take on painting, deceptively proffering pure visual aggression and sublimating beauty through the most contemplative and considered means: an intensive, wholistic, and extraordinarily ambitious devotion to visual craftsmanship and its possibilities of excess.

Erik Parker lives and works in New York City, NY. Recent solo exhibitions include Other Side of Morning and Bermuda at Patricia Low Contemporary, Gstaad, Switzerland, 2011; Focus: Erik Parker at Modern Art Museum, Forth Worth, TX, 2010; Crisis Creation at Paul Kasmin Gallery, New York, NY, 2009. Recent group exhibitions include Psychedelic: Optical and Visionary Art since the 1960s, San Antonio Museum of Art, San Antonio, TX, 2010; The Earth is Blue like an Orange. Recent acquisitions of the Montreal Museum of Fine Art, Montreal Museum of Fine Art, Montreal, Canada, 2010; The Sorcerer's Apprentice; Late Picasso and Contemporary Painters, curated by Max Henry, Galleri Faurschou, Copenhagen, Denmark, 2007