Temple's TangleWave Art Gallery


Evening Forms, acrylic on canvas and wood, 18"x22" © 2002

Forbidden Fruit, acrylic on canvas, 26"x36" © 2001

White Letters, acrylic on canvas and wood, 15"x10 3/4" © 2002

Guarded White Lies, acrylic on panel, 11"x14" © 1998

Shallow Timing, acrylic on wood, 19 1/4"x48" © 2000 (private collection)

Undone Days, acrylic & oil on canvas, 24"x30" © 2000 (private collection)

Tremors Treading, acrylic & oil on canvas in wood frame, 25"x29" © 2000 (private collection)

The Secret, acrylic & oil on linen, 42"x32" © 1996

The Tongue Wags, acrylic & oil on linen, 20"x30" © 1995 (private collection)

The Tongue Wags, was inspired
by the I Ching, Hexagram 31.6:
"The influence shows itself in the jaws, cheeks, and tongue."

"The most superficial way of trying to influence others is through talk that has nothing real behind it. The influence produced by such mere tongue wagging must necessarily remain insignificant. Hence no indication is added regarding good or bad fortune."

Impotence, acrylic on hardboard, 11"x14" © 1996

Night Watch, acrylic on canvas, 26"x18" © 1982, 1991 (private collection)

Night Watch II, acrylic on linen, 26"x34" © 2000 (private collection)

Night Watch III, acrylic on linen, 26"x34" © 2000

Night Watch IV, acrylic on linen in wood, 12"x15" © 2001 (private collection)

Rainy Day at the Parade, oil on linen, 20"x38" © 1993 (private collection)

Dead Muse, acrylic, copper and nylon on cork, 30"x30" © 1999

. . . she had spent the whole day gazing up at the sky.
Evening Faces,The Tale of Genji, Murasaki Shikibu [trans; Edward G. Seidensticker]

Overture, acrylic on linen, 14"x20" ©, 1992

QUADRIPTYCH: Hoax, Foam, Crash, Loomings
acrylic, foam, quilted linen, nylon, rubber, masonite, wood 4 (12"x12") © 1997

Quadriptych was inspired, in part, by the following excerpt from Moby-Dick:

. . .I say so strange a dreaminess did there then reign all over the ship and all over the sea, only broken by the intermitting dull sound of the sword, that it seemed as if this were the Loom of Time, and I myself were a shuttle, mechanically weaving and weaving away at the Fates. There lay the fixed threads of the warp subject to but one single, ever returning, unchanging vibration, and that vibration merely enough to admit of the crosswise interblending of the other threads with its own. This warp seemed necessity; and here, thought I, with my own hand I ply my own shuttle and weave my own destiny into these unalterable threads. Meantime, Queequeg's impulsive, indifferent sword, sometimes hitting the woof slantingly, or crookedly, or strongly, or weakly, as the case might be; and by this difference, in the concluding blow producing a corresponding contrast in the final aspect of the completed fabric. . .this easy, indifferent sword must be chance--aye, chance, free will, and necessity--no wise incompatible--all interweavingly working together. The straight warp of necessity, not to be swerved from its ultimate course--its every alternating vibration, indeed, only tending to that; free will still free to ply her shuttle between given threads; and chance, though restrained in its play within the right lines of necessity, and sideways in its motions directed by free will, though thus prescribed to by both, chance by turns rules either, and has the last featuring blow at events.

--Herman Melville, Moby-Dick, "The Mat-Maker"

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© 2003-2005 Temple Lee Parker