'One, The Side-ness of In-Out'
Oil on linen
61 x 51 cm
My paintings are meticulously rendered through soft films of transparent oil so that imagery looks drawn or printed. Central to my invented vocabulary are: the frame, flatness, surface, transparency, trompe l’oeil illusion, repetition (with variation and displacement), and bands and units of isolated colour. In my interrogations of the technical problems of the medium, I frequently conceive of painting as a two-dimensional stage space that curtails fictive distance as it represents it.
Photographic reproductions of abstract painting often include the contextual space of the gallery. 'One, The Side-ness of In-Out' draws on this convention to place abstract shapes in a 'room'. By way of a horizon line, two versions of the 'same' shape illustrate the two divergent spatial organisations accredited to painting: abstract (freely floating) or figurative (beholden to gravity). In turn, we can see each shape as either a painting or a sculpture. The repetition asks which is the referent and which the art, while the narrative considers painting's form as inclusive of, and reliant upon, the architecture of its surroundings.
Born in 1976 in Johannesburg, Selma Parlour attended De Montfort University Leicester 1995-8, University of Reading 1999-2002, Goldsmiths College London 2008-14. Exhibitions (London unless stated) include 'Bloomberg New Contemporaries 2011' S1Artspace Sheffield/ ICA, '270112 Abstractions' LGLondon 2012, 'Creative Cities Collection' Barbican 2012, 'Selma Parlour & Yelena Popova' Horton Gallery New York 2012, 'The Shape of Things' The Dot Project 2015, 'The Shapes We're In' Bread & Jam 2015. Solos are 'Selma Parlour' MOT International 2012, 'Paradoxes of the Flattened-out Cavity' Dio Horia Mykonos 2015. Forthcoming: site-specific commission at The House of St Barnabas (from October 2016). In Thames and Hudson’s '100 Painters of Tomorrow'.