Parsons places great emphasis on ensuring that her paintings convey a sense of scale and space that far exceeds their small size. She stretches the limits of space in her paintings, resulting in the texture of the paint and the mark of the brush becoming more pronounced, and core elements of the visual field. writes Avantika Pathania.
Vicken Parsons’ solo exhibition, Time, at Cristea Roberts is a collection of wood panel artworks that capture her profound interplay of colours, space, and the vivid imagination. Parsons’ masterful artworks are crafted on wood panel using thin layers of oil paint, resulting in small yet stunning pieces. She skilfully captures partial views of interior spaces and landscapes, simultaneously remembered and imagined.
From left to right: Vicken Parsons, Untitled (2402), 2024, Untitled (2408), 2024, Untitled (2407), 2024.
The works are displayed with a uniform spacing between them, create a cohesive and apodictic arrangement. While they are small, “it is very important to have space around them, because of the nature of the works themselves. They are almost like objects- they are not 2D flat. They are beautifully, thinly veiled painted,” says Gemma Colgan, Associate Director at Cristea Roberts. “They are extremely reflective, so you need space to stand back and then really focus on the work.” Parsons herself wants to “open up the small physical space of the panel into a space of the imagination, on unknown- possibly vast-dimensions.”
Parsons places great emphasis on ensuring that her paintings convey a sense of scale and space that far exceeds their small size. In some works, space is defined by lines and structures that are reminiscent of architectural elements, while in others, she uses paint to veil or shadow interiors that can be glimpsed beneath. In more recent paintings, she encourages space to expand and grow and creep towards the borders of the panel. Parsons stretches the limits of space in her paintings, resulting in the texture of the paint and the mark of the brush becoming more pronounced, and core elements of the visual field. This creates a sense of depth and movement in the painting that draws the viewer in, inviting them to explore and appreciate the subtle nuances of the work. It furthermore creates a captivating visual experience that captures the essence of her artistic vision.
Untitled, c. 2022, oil on wood, photo courtesy of Avantika Pathania
Reminiscent of Rothko’s colour-field canvases, Parson’s thick, straight brushstrokes are rapidly painted on the wood panel, with pops of line painted across them. These lines are not immediately visible to the naked eye and require multiple viewings to be fully appreciated. Many of the artworks feature vibrant pops of colour, (for instance the Untitled (2407), (2024) that is dominated by light and dark grey with a thin line of cherry red on the left) which are often in the form of muted tones combined with fiery red. The imprecise geometric fields evoke landscapes or partial views of interiors, thereby adding to the allure of Parsons’ works.
For over two decades, Parsons’ work has captivated and inspired writers from various fields, including art, psychoanalysis, and literature. Her unique perspective and artistic style have earned her a well-deserved reputation as a masterful artist. With her technique, Parsons creates an intricate interplay of space and light, which results in a mesmerising visual experience for the audience.
Avantika Pathania is a London-based writer and arts journalist.
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