Olivia Parker
American, born 1941
Olivia Parker began her career as a painter, and became involved in photography in 1970. Mostly self-taught, she began working in her studio, constructing images to be photographed. Her first book, Signs of Life, featured simple images seen with keen insight: a perfect white orchid, a pair of ballet slippers, pea pods sitting on a counter. In Eggshells, four cracked white shells rest on a white counter, perfectly lit exposing their vulnerability; in Moon Snails, rows of snails are lined in a box, taking on the appearance of eyes staring out of a cabinet drawer.
Her second book, Under the Looking Glass, featured Parker's color work and interest in photographic collage, creating narratives about ancestry through the combination of old photographs, blooming flowers and aged fruit. While these images were small in nature (4 x 5" and 8 x 10"), Parker infused them with a heightened sense of reality that is exaggerated by color and light. As Mark Strand said in his introduction, "Olivia Parker's photographs contain a remarkable suggestive world of particulars – so suggestive, in fact, that we are not sure if we are looking at strange extensions of reality or colorful projections of dreams." In The Eastern Garden, a tattered doll rests on a wood shelf, a coffin of red roses holding it afloat; in The Black Package, a black package tied with red string which sits at the foot of a portrait of a young girl, suggesting an offering to the dead or a remembrance of a young life.
In Parker's third book, Weighing the Planets, she introduces nautical maps, encyclopedias, glass vials, diaries, metal objects, and flowers to create visual poetry. In these images, Parker creates constructions using natural light which streams onto her set-ups, projecting shadows of figures and objects onto book pages and maps. The effects are eerie; people appear to be floating above the ground, fish swim across the page and wind takes on an animated effect. In At the Edge of the Garden, silhouetted workers appear behind a bed of blooming flowers; in On the Wall, a squatting figure jumps atop a sheet of illegible notepad paper, escaping flying tacks.
In the early 1990s, after almost two decades of working with large format cameras, split-toning and Polaroid materials, Parker turned her attention to the computer, fusing her collage with the new digital era. The resulting images continue to explore real and imagined worlds. In the latest series in the show, Books, Parker photographs an Ethiopian bible, its gazelle skin pages stitched to close natural holes in the hide. Sculptural in presentation, the book takes on other meanings. As Parker states, "A closed book tempts me to open it. As it opens a book may release ideas the same way an open door releases light into a darkened room." Through her works, the viewer is invited into the shadows of Olivia Parker's imagination.
http://www.edelmangallery.com/parker.htm
After graduating from Wellesley College in 1963 with a degree in Art History, Olivia Parker began her career as a painter. She became intrigued with photography in 1970. Mostly self-taught in photography, she usually constructs what she photographs in the studio. Her photographs are fundamentally still life inspired by those painted in the traditional Dutch, Flemish and Spanish 17th century style, with their torn petals, sumptuous but imperfect fruit and improbable insects. Parker feels that photographic still life is still an open arena precisely because of those intrinsic qualities of this contemporary medium that distinguish it from painting. She says that the expression of the classical ideals of form is "dead matter" because the objects she chooses to photograph, whether alive or dead, are instead all signs of life. She is drawn to the implication of visual edges; the swollen limits of a ripe pear touching a hard line or light downy feathers, confined by a metal grid. Her photographs ask viewers to continually evaluate their meaning by never truly defining where the eye comes to rest.
Olivia Parker has had more than a hundred one-person exhibitions in the United States and abroad, and her work is represented in several major private, corporate and museum collections.
http://www.photographywest.com/pages/parker_bio.html
Person TypeIndividual
Terms
- female
