Temple's TangleWave Art Gallery


The Death of Voices, acrylic on canvas and wood, 15"x10 3/4" © 2002

Soothsayer II, oil on linen, 20"x30" © 2001

Strange Shadow 2, acrylic and oil on marker board, 23"x17 1/2" © 2000

Who owns the framed face? Dispacing an elongated neck, one jade earing. Is she a tribute to Modigliani or Matisse or Klee's Goldfish? She seems vaguely off-center. Is she reflecting or consuming? The table cloth forges a bold pattern, rallying knives and forks. Perhaps it is less complacent than the fish? The fish isn't looking to satisfy or be satisfied, though perhaps he harbors a malignant question. There is an emptiness he mocks, challenging notions of solitude. Perhaps there will soon be a war among the utensils. Is the apple the answer? It might provide a wide array of fictions and challenges, demanding an active participation. It might fall off the table. It might be less sinister in real life.The floating flower looses all perspective. Can our heroine compromise with the forces of renewal? Someone is missing, trying to encompass a whirling emotional monstrosity, though the scene remains personalized and accustomed to its fate. Was I interrupting these secret, static rituals and little behavioral choices?

An Uninvited Guest, acrylic on linen, 36"x26" © 2000

Undercurrents, acrylic & prismacolor on black board, 23"x17 1/2" © 2000

Shadow, acrylic on canvas, 32"x22" © 1984, 1991 (private collection)

The Flowering of Narcissus, acrylic on linen, 24"x22" © 1992 (private collection)

The Flowering of Narcissus depicts my interpretation of a mythological event. Rather than interpreting Narcissus as being only superficially "narcissistic," I interpret his self-obsession as a profound looking inward, leading perhaps to surprise but also terrifying and cathartic self knowledge, perhaps a basis for enlightenment. There may be some irony in this, like Atman facing Brahman. Whereas The Flowering of Narcissus attempts to enlarge upon a particular component of the collective subconscious, Memory attempts to present the process of memory itself as another means to enlarge, to pick and choose. Interpreting mythological images can make the historical and collective seem immediate and personal, while the fishing around in one's own memories, in many ways, seems to be a process of transforming the personal and immediate into the collective and historical. If I can find an overlap between my own experience and that of some dead poet, then haven't I, in a sense, enlarged my own experience? It doesn't seem possible for the individual to define herself without either positive or negative reference to the collective.

Echo, watercolor on paper, 17"x15" © 1999

The Stranger, prismacolor, acrylic and oil on black board, 23"x17 1/2" © 1999 (private collection)

Lotus Eater, acrylic on canvas, 24"x40" © 1991

Creatures with Bells, oil on linen, 32"x30" © 1996

Stan, acrylic on canvas, 24"x28" (detail) © 1995 (private collection)

Brave Companion of the Road, acrylic on linen, 16"X8" © 1995 (private collection)

Soothsayer, oil on linen, 20"x30" © 1994 (private collection)

Baby Boomer II, acrylic and ink on panel, 11"x14" © 1998

[Portents | Pinwheels | Diptychs | Nymphs | Furrows | Beasts | Flowers | Goddesses | Psychology | Memory | Magic | Diets and Disorders | Dybbuks | Biodiversity | Prayers | Saints | Angels | Games | Communion | Chants | Fire | Crosses | Air | Water | Light | The Chandelier Has No Ceiling Series | Pieces of Eve | Alphabet Cards | Beacon and the Butterflies | Cosmogony with Strings Attached | I Never Feel Real | Wild Goose | Rants | Intermittent Deeds]

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© 1997-2005 Temple Lee Parker