A Window Into the World of Michael Parkes

www.Borsini-Burr.com
www.TheWorldofMichaelParkes.com

I recently had the pleasure of meeting Michael Parkes and spending a wonderful weekend full of gorgeous art, inspiration and conversation hosted by the Borsini-Burr Gallery in Montara, California. Michael made himself very available throughout the weekend, generously sharing technical information about his work, spiritual insight and providing all in attendance a glimpse through a window into his world.

Michael at work in his very clean, very bright studio

My own “window” into the World of Michael Parkes began in the mid 1980s in a used bookstore in Chico, California. In the Fine Art and Illustration section, I found a book lying on the floor, laid open with a large, dusty boot print stamped across the end-papers. Saving the book from further abuse, I picked it up, brushed the dusty print from the end-papers, thankful the damage was not serious. Closing the modest volume to re-shelve it I was immediately struck by the cover – a beautiful and fantastic image of a nude female somehow engaged with a dandified Dwarf, wearing a living swan hat and pulling on a ribbon held in the mouth of a powerful tiger. I had to know more.

“Puppetmaster” 1983 Oil on Panel 50 x 65 cm

(Cover for the Leo Duppen book)

Turning to the title page I noticed this particular edition was signed by Parkes in Basel, Switzerland in 1984 – at that point I knew I had found a treasure, I just didn’t realize how much it would mean to me. Flipping through the pages I was captivated by the images – strange archetypical creatures and characters from mythology seemed to play, dance and cavort through surreal landscapes of some magical dreamworld. It felt like home to me. This was the “Duppen” book (by Leo Duppen published in 1984), the second of many books to be published on Michael’s work and his magical world.

“Year 12 A.D.” 1978 Oil on Panel 60 x 50 cm

 

“Mars” 1978 Oil on Panel 60 x 75 cm

“Battle of Mare Imbrium” 1983 Oil on Panel 110 x 130 cm

Since that first fascinating view his work and spiritual imagery have been a major influence for me. Parkes’ early work was rooted in the Surreal tradition, an appropriate style for communicating his metaphysical concepts and imagery, but one always felt there was more to this world. The early work was beautifully drawn, composed and rendered with an appealing sense of story and positive energy. Later influences such as Rembrandt, Alma Tadema, and Klimt became important as his work developed, but Parke’s own vision and personal mythologies always shone through. Parkes is truly a contemporary Master of multiple artistic disciplines in drawing, painting, sculpture, and stone lithography. His elegant sense of composition, idealized archetypes and otherworldly tableau’s are filled with subtle power, grace and benevolent mystery.

“Diamond Warrior” 1989 Stone Lithograph 20.75 x 26.75 inches

I use the analogy of the window because Michael uses it himself when discussing his goal as an artist – to provide access to other worlds where we can glimpse something beyond ourselves…scenes of a timeless story that exists before and after our own. Parke’s primary interest is sharing and exploring his own spiritual journey through symbolic imagery and esoteric concepts common to human culture and experience. In an interview in “Stepping Out” magazine (1988) Parkes says,

“…I paint things as beautifully as I can technically, and I paint things with love and affection so that there is a sense of beauty in the paintings. Then within that structure I can talk about almost anything I want, and people are attracted by the order and the sense of beauty in the painting. Through that, other things can come to them, with luck.”

 

“The Juggler” 1981 Oil on Panel 110 x 90 cm
(Michael says this painting is as close as he’s ever come to a self portrait)

Michael gave a fascinating and insightful presentation of his work at the Gallery on Sunday morning (last year’s presentation, “Symbols and Stillness” is highly recommended and available as a DVD from the Gallery: www.Borsini-Burr.com). This year’s body of work focused on couples, relationships and companions, but not necessarily just human. In classic Parke’s fashion one could glimpse the story of an encounter between innocent, young girl and ancient iron angel, beautiful winged angel and her guardian spirit hawk, two lovers connected and suspended by a kiss or a creative Deva bringing snow leopards into the world and sharing a bit of her own spirit with theirs.

Here are a few of my favorites from the show:

“See No Evil” 2010 Mixed Media on Vellum 5 x 13 inches

 

“Iron Angel” 2010 Mixed Media on Vellum 25 x 18 inches

“Daybreak” 2010 Oil on Canvas 14.75 x 35 inches
 

“Deva’s Garden” 2010 Oil on Canvas 24 x 38 inches

A favorite comment from Michael’s presentation echoed the much earlier interview from “Stepping Out“ magazine and gave testament to his consistency and vision, “I try to paint a world that draws the viewer in, and once inside they look around and say, ‘I’m not in Kansas any more, but I like it here…I feel comfortable…I think I’ll have a look around.’”

I certainly was aware I wasn’t in Kansas any more…it was a wonderful weekend hosted by Dianne Borsini-Burr and partner Mark Eaker and one I will always cherish. The world of Michael Parkes is truly a magical place, I hope you will take a look through the windows Michael has created and enjoy your visit to some “other” Kansas.

 

For information on available works, future shows, Books and DVDs contact Dianne at the Borsini-Burr Gallery in Montara-by-the-Sea: Toll free: (877) 712-211 or visit the website:

www.Borsini-Burr.com

 

“Angel Study” Grano Lithograph 14.5 x 17.5 inches

For more information on Michael including the latest news, appearances and very interesting videos on his techniques and ideas please visit his website:

www.TheWorldofMichaelParkes.com

Heroes & Inspiration: An Overview

At a recent one-man show I had a pleasant conversation with a couple and the topic of my art heroes arose. Specifically I was asked if I was influenced by Georgia O'Keefe, "Absolutely!" was my reply and I thought this would make a good topic to share. There are quite a few artists and teachers that have inspired me over the years and I will post more in-depth bios on them in the future. This first "Heroes" article is an overview and introduction to the artists and teachers that have influenced and shaped my creative process (in no particular order).

Georgia O'Keefe

As mentioned, she has been an influence mainly for her imagery and focused design. In her simple, almost meditative compositions she raises humble objects and the beauty of nature to the status of icons. It is clear in her work that she loves organic forms whether they be a ram's skull or a delicate flower. Her almost zen-like compositions tend toward an informal symmetry and I have always been drawn to the same treatment of simple subjects, skulls, stones, driftwood, insects, etc. I identify with her fascination for the elegance found in nature and her reverential treatment of her subjects.

Ronald Davis



I first came across Davis' work at Shasta College in the form of a one-man show poster in the office of one of the theater instructors. I could see it from the window and I would just stand outside and look at it - I would go out of my way to walk by that window on occasion. I never wrote down his name, which I eventually forgot. Years later I ran across a used book with a collection of california artists from the seventies - there he was! I wrote down the name. Davis was born in Santa Monica, California in 1937 but raised in Cheyenne, Wyoming. He eventually found his way back to California and attended the San Francisco Art Institiute from 60-64. In 1963 he began working in a geometric, hard-edged style with a focus on spatial illusion. It was in the mid seventies that he created his "Snapline" series. These were very large scale, illusionary paintings based on geometric forms set in what seemed to me to be deserts or planar landscapes. I don't really know why I respond to them with such interest, sometimes it is just enough to feel it, part of the mystery I think. As much as I love his Snapline Series it his geometric illusion pieces that influence my geometric and illusionary work.

Alan Magee



Magee was born in 1947 in Newton, Pennsylvania. He began a career as an editorial and book cover illustrator in 1969. In the late seventies he began to concentrate on his personal work and had his first solo show at Staempfli Gallery in New York. He became quite popular in the early eighties with his realistic paintings of beach stones. His delicate, "trompe l'oeil" paintings of bones, carburetors, stones, and other simple objects, like O'keefe, raise them to a place of reverance. I often think of his work when I make a connection with the humble object - whether organic like a stone or man made like some interesting part of a machine.

Ruben Heredia



Ruben is a figure drawing instructor at Butte College near Chico, CA. He primarily works in graphite and colored pencil developing beautiful, elegant and fascinating compositions. His approach to the figure is fresh and unique and seems to represent ideals and concepts hidden within the forms. His drawings are less about portraiture and more about spirit and connection with life, nature and the cosmos. Much of his work focuses on the female torso interwoven with graphic and organic forms, merging into a complex composition of elements; hair becoming tentacles, an arm becoming a gauntlet, a head taking on aspects of a knights helm. He will often play with surface illusion as well, defining water droplets or small spheres sitting on the surface of the paper or even floating just above the surface and casting shadows. The playful, humorous aspect of his work is an echo of Ruben's personality as well, full of both wisdom and humor he is always willing to share with his students. Ruben's exploration and vision of the figure resonates deeply with me and is as close to my own vision as I've ever encountered.

http://www.northvalleyarts.com/heredia_studio%20visit.html

(Scroll all the way to the bottom to see a slideshow of some of Ruben's work)

Richard Wilson



Richard is an important person in my journey as an artist. Richard ran the art department at Shasta College in Redding, California and is where I got started in the early 1980's. Richard's work is minimal, geometric abstraction and while not a direct inspiration, his work ethic, energy and knowledge of art were very inspiring. He was the first person "beyond the nest" to recognize that I might have what it takes to follow the artist's path. I recall the department as being fairly casual and close-knit at that time and I became Richard's "Assistant", hanging the gallery shows, organising this and that, prepping and clean-up the classrooms. It was a great experience and I'll never forget handling and hanging some of the "important" pieces in the permanent collection - Picasso, Warhol and Lichtenstein lithographs come to mind. It was here under Richard's encouragement and in this atmosphere that I began to form many of my mature ideas about fine art that I am still exploring today. I must also mention that Richard taught Art History with passion and knowledge, bringing such a sense of life to both individual artists and cultures that one couldn't help but be inspired. For his encouragement and example I will always be grateful and I hope to inspire the same passion and vision within my students.

I hope you have enjoyed this bit of "hero worship" and that it gives you a little insight into my inspiration. Best Wishes for the New Year!


Jeff